2017 Season Infinite Worlds

06 07PROGRAMS

facebook.com/sfballet

youtube.com/sfballet

twitter.com/sfballet

instagram.com/sfballet

FOLLOW US BEFORE AND AFTER THE PERFORMANCE!

5 Greetings from the Artistic Director & Principal Choreographer

7 History of San Francisco Ballet

9 Board of Trustees Endowment Foundation Board

11 For Your Information

12 Explore Ballet

15 Leadership

16 Artists of the Company Principal Dancers Principal Character Dancers Soloists Corps de Ballet

24 Program 06 Swan Lake

32 Program 07 Made for SF Ballet Trio Ghost in the Machine (World Premiere) Within the Golden Hour©

40 San Francisco Ballet Orchestra

42 San Francisco Ballet Staff

44 Calendar of 2017 Repertory Season Donor Events

45 Sponsor & Donor News

48 Great Benefactors

49 Artistic Director’s Council

50 Season Sponsors

52 The Chairman’s Council

53 The Christensen Society

56 Corporate & Foundation Support

59 San Francisco Ballet Endowment Foundation

60 The Jocelyn Vollmar Legacy Circle

62 Thank You to Our Volunteers

63 San Francisco War Memorial and Performing Arts Center

San Francisco Ballet | Vol. 94, No. 6 2017 Repertory Season

All editorial material © San Francisco Ballet, 2017 Chris Hellman Center for Dance

455 Franklin Street, San Francisco, CA 94102

Cover: Yuan Yuan Tan // © Erik Tomasson Above left: Yuan Yuan Tan and Tiit Helimets in Tomasson’s Swan Lake // © Erik Tomasson

Above right: Maria Kochetkova in Tomasson’s Trio // © Erik Tomasson

Table of Contents

PROGRAM

06PAGE 24

PROGRAM

07PAGE 32

©20

17 C

ity N

atio

nal B

ank

“ City National helps keep my financial life in tune.”

So much of my life is always shifting; a different

city, a different piece of music, a different

ensemble. I need people who I can count on to

help keep my financial life on course so I can

focus on creating and sharing the “adventures” of

classical music. City National shares my passion

and is instrumental in helping me bring classical

music to audiences all over the world. They enjoy

being a part of what I do and love. That is the

essence of a successful relationship.

City National is The way up® for me.

Michael Tilson Thomas Conductor, Educator and Composer

Hear Michael’s complete story at cnb.com/Tuned2SF

Find your way up.SM

Call (866) 618-5242 to learn more.

City National Personal Banking CNB MEMBER FDIC

March 2017Volume 94, No. 6

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, Ann Manning, Rob Scott Seattle Area Account Executives

Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives

Jonathan Shipley Ad Services Coordinator

Carol Yip Sales Coordinator

Sara Keats Jonathan Shipley Online Editors

Leah Baltus Editor-in-Chief

Paul Heppner Publisher

Dan Paulus Art Director

Gemma Wilson, Jonathan Zwickel Senior Editors

Amanda Manitach Visual Arts Editor

Barry Johnson Associate Digital Editor

Paul Heppner President

Mike Hathaway Vice President

Genay Genereux Accounting & Office Manager

Sara Keats Marketing Manager

Ryan Devlin Business Development Manager

Corporate Office425 North 85th Street Seattle, WA 98103p 206.443.0445 f 206.443.1246adsales@encoremediagroup.com800.308.2898 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 Franc isco Bay Areas. All rights reserved. ©2017 Encore Media Group. Reproduction without written permission is prohibited.

PROGRAMS 06 & 07 SAN FRANCISCO BALLET 3

Welcome to Swan Lake and Made for SF Ballet, the sixth and seventh programs of our 2017 Repertory Season. I’m delighted you have joined us at the Opera House for these wonderful programs.

Swan Lake is such an enduringly beloved work that George Balanchine once quipped that every ballet should be named Swan Lake, to ensure a large, enthusiastic audience. Created in 1876, it’s a classic for good reason. Swan Lake has a haunting, beautiful Tchaikovsky score. The revealing dual role of soft, delicate Odette and brash, seductive Odile gives audiences fascinating insight into each leading ballerina as an artist and individual. And the poignant story of a deep, soul-affirming love that can even overcome evil sorcery is a wonderful escape from the demands of our modern world. As a choreographer, I loved the challenge of approaching this ballet with a new perspective — making it look vibrant and fresh and clarifying the narrative, while remaining true to the original. This ballet involves our entire Company, and I hope you will enjoy seeing so many of our dancers in this beautiful, poignant work.

At SF Ballet, our repertory is similar to the collection of a forward-thinking museum: our permanent collection of recognized classics — like Swan Lake — is our pride and joy and the enduring foundation of what makes us great. We’re also constantly nurturing developing artists and acquiring new works, like the three ballets on Program 7, Made for SF Ballet. I commissioned Christopher Wheeldon’s first ballet for this Company in 2000, Sea Pictures, and since then, he has regularly created works for us. Christopher created Within the Golden Hour© for our 75th Anniversary New Works Festival in 2008: this stunning, exultant ballet has since been performed around the world. Corps de Ballet dancer Myles Thatcher started to choreograph while still a trainee at San Francisco Ballet School and has honed his skills making ballets for our School and Company, and subsequently for New York City Ballet and The Joffrey Ballet. Myles is an exciting new voice in the dance world, and I look forward to sharing his most current work with you. These two ballets share this program with my own Trio, created for the Company in 2011.

There is one program yet to come in our 2017 Repertory Season: Christopher Wheeldon’s fanciful, inventive Cinderella©, an instant classic, embodies both the heart of the old and the spirit of the new. I hope you will join us again for this delightful ballet.

Sincerely,

Helgi Tomasson Artistic Director & Principal Choreographer

Greetings from the Artistic Director & Principal Choreographer

© E

rik T

omas

son

EAP full-page template.indd 1 2/27/17 11:08 AM

PROGRAMS 06 & 07 SAN FRANCISCO BALLET 5

History of San Francisco Ballet

A tradition of innovation flows through the history of San Francisco Ballet. Long recognized for pushing boundaries in dance, SF Ballet has always built upon strong classical roots, while continually exploring and redefining where the art form is headed. The San Francisco Opera Ballet was founded in 1933, primarily to prepare dancers to appear in lavish opera productions. In 1942, the ballet officially separated from the opera and was renamed San Francisco Ballet.

From the late 1930s to the 1970s, SF Ballet was led by three brothers: Willam, Lew, and Harold Christensen. The young company was the first to create full-length American productions of Swan Lake (1940) and Nutcracker (1944). SF Ballet performed on the East Coast for the first time in 1956, at Jacob’s Pillow Dance Festival. The following year, the Company toured 11 Asian nations, the first performances of an American ballet company in Asia. The tour was so successful that it was followed by a four-month tour of Latin America in 1958 and a three-month tour of the Middle East in 1959.

The 1970s were tumultuous. The Company started an annual season in the War Memorial Opera House in 1972, and Michael Smuin was appointed associate artistic director in 1973. But in 1974, SF Ballet faced bankruptcy. Dancers rallied community support with an extraordinary grassroots effort called “Save Our Ballet,” successfully bringing the Company back

from the brink. SF Ballet then developed the first long-range plan for an American dance company and, 18 months later, was financially stable.

Smuin’s The Tempest was the first ballet broadcast live from the War Memorial Opera House and was nominated for three Emmy Awards in 1981 (Costume Designer Willa Kim won). In 1984, Smuin received an Emmy for Choreography for the Great Performances: Dance in America national broadcast of A Song for Dead Warriors.

Helgi Tomasson’s arrival as artistic director in 1985 began a new era at SF Ballet. Like Lew Christensen, Tomasson had been a leading dancer for George Balanchine, one of the most prominent choreographers of the 20th century. Tomasson has choreographed extensively for the Company and has staged acclaimed full-length productions of Swan Lake (1988, 2009); The Sleeping Beauty (1990); Romeo & Juliet (1994); Giselle (1999); and a new Nutcracker (2004). He has also expanded the repertory to include new works by choreographers William Forsythe, Mark Morris, Paul Taylor, Christopher Wheeldon, Val Caniparoli, and many others.

In 1991, SF Ballet performed in New York City for the first time in 26 years. The New York Times proclaimed, “Mr. Tomasson has accomplished the unprecedented: He has pulled a so-called regional company into the national ranks, and he has done so by honing the dancers into a classical style of astonishing verve and purity. SF Ballet under Helgi Tomasson’s leadership is one of the spectacular success stories of the arts in America.”

Under Tomasson, SF Ballet has also undertaken ambitious programming. In May 1995, SF Ballet hosted 12 international ballet companies for UNited We Dance: An International Festival, commemorating the 50th anniversary of the signing of the United Nations Charter in the War Memorial Opera House. In 2008, the New Works Festival, organized to mark the Company’s 75th anniversary, introduced 10 premieres by 10 choreographers. In recent years, the Company’s touring programs have also become increasingly extensive, with international engagements in Paris, London, Moscow, Hamburg, Athens, Shanghai, and Beijing.

San Francisco Ballet School, also established in 1933, has grown into a preeminent training center under Tomasson and associate director Patrick Armand. The School attracts students from around the world, training approximately 350 annually. In addition to filling the ranks of SF Ballet, graduates have joined distinguished ballet companies throughout the world.

Top, l-r: SF Ballet founders Lew, Willam, and Harold Christensen in the 1940s; Bottom: Members of San Francisco Ballet under the Golden Gate Bridge on the eve of the historic 1957 tour to Asia.

APR.COMOver 30 Offices Serving The San Francisco Bay Area 866.468.0111

IMAGINE SOMETHING MORE

THE EXPERIENCE IS

ALAIN PINEL

EAP full-page template.indd 1 2/17/17 4:43 PM

PROGRAMS 06 & 07 SAN FRANCISCO BALLET 7

Chris Hellman(1933–2017) Director Emeritus

George B. James IIDirector Emeritus

San Francisco Ballet Association Board of Trustees 2016–2017

San Francisco Ballet Endowment Foundation Board of Directors 2016–2017

Carl F. Pascarella, Chair of the Board and Executive Committee

James D. Marver, President

Chris Hellman†(1933–2017) Chair Emeritus

John S. Osterweis† Immediate Past Chair

Margaret G. GillVice Chair

James H. Herbert, II†Vice Chair

Lucy JewettVice Chair

James D. MarverVice Chair

Diane B. WilseyVice Chair

Jennifer J. McCallSecretary

Susan S. BriggsAssistant Secretary

Nancy KukackaTreasurer

Helgi TomassonArtistic Director & Principal Choreographer

Glenn McCoy*Executive Director

John S. OsterweisPresident Emeritus

Hank J. HollandVice President

Thomas E. HornTreasurer

Laura Simpson‡Secretary

Elizabeth Lani‡Assistant Secretary

Jola Anderson Kristen A. Avansino Rosemary B. Baker Richard C. Barker Karen S. Bergman Gary Bridge Chaomei Chen Hannah Comolli Christine Leong Connors David C. Cox Susan P. Diekman Kate Duhamel Sonia H. Evers Shelby M. Gans Joseph C. Geagea Richard Gibbs, M.D. Beth Grossman Patrick M. HoganThomas E. Horn Donald F. Houghton Hiro Iwanaga James C. Katzman Yasunobu Kyogoku

Kelsey Lamond Irv H. Lichtenwald Marie O’Gara Lipman Mark G. Lopez Alison Mauzé Marissa Mayer Deborah M. Messemer Kurt C. Mobley Kara Roell Christine Russell Randee Seiger Robert G. Shaw Christine E. Sherry Charlotte Mailliard Shultz Catherine Slavonia David Hooker Spencer Fran A. Streets Judy C. Swanson Richard J. Thalheimer Jennifer M. Walske Miles Archer Woodlief Timothy C. Wu Janice Hansen Zakin

Richard C. BarkerSusan S. BriggsJ. Stuart FrancisNancy KukackaHilary C. PierceLarissa K. Roesch

TRUSTEES EMERITI

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† Stephanie Marver Nancy H. Mohr Marie-Louise Pratt George R. RobertsKathleen Scutchfield Robert M. Smelick Susan A. Van Wagner Dennis Wu Akiko Yamazaki

ASSOCIATE TRUSTEES

Brenda LeffPresident, San Francisco Ballet Auxiliary

Patricia D. KnightPresident, BRAVO

Christopher Correa President, ENCORE!

Stewart McDowell Brady, Patrice LovatoCo-Chairs, Allegro Circle

† Past Chair * Non-Trustee ‡ Non-Director

(855) 886-4824 or visit www.fi rstrepublic.com New York Stock Exchange Symbol: FRC

Member FDIC and Equal Housing Lender

“ First Republic shares our passion for innovation and world-class performance.”A N D R E A M I L L E R

Founder, Artistic Director and Choreographer, Gallim Dance2014 Guggenheim Fellow

EAP full-page template.indd 1 5/16/16 1:42 PM

PROGRAMS 06 & 07 SAN FRANCISCO BALLET 9

For Your Information

PURCHASING TICKETSYou can order online at sfballet.org or call Ticket Services at 415 865 2000, Monday through Friday, 10 am to 4 pm. On performance dates, phones are open from 10 am until the performance begins. The SF Ballet Box Office in the Opera House is open only on performance dates. During the Repertory Season, we’re open Tuesday through Friday, from noon through the first intermission, and on Saturday and Sunday from 10 am through the first intermission. During the hour prior to curtain, the Box Office will only be able to handle business for the upcoming performance.

Groups of 10 or more can save up to 30 percent. For information, visit sfballet.org/groups or call 415 865 6785.

Gift certificates are available online at sfballet.org or by calling 415 865 2000.

THE SHOP AT SF BALLETis open one hour before each performance, during intermissions, and after weekend matinees, even if you're not attending the performance itself (visit the Box Office for a special pass).

ACCESSIBILITYSF Ballet is committed to providing easy access for all of our patrons. Please contact our Ticket Services department at 415 865 2000 prior to the performance with questions and so that we can ensure your comfort.

Wheelchair-accessible entrances are provided at the front doors (Van Ness Avenue), Taxi Ramp (Grove Street), and Carriage Entrance (north side).

Wheelchair seating positions are located on the Orchestra and Dress Circle levels.

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.

DINING AND REFRESHMENTSThe Café at the Opera House on the Lower Lounge level opens two hours prior to curtain time for a pre-performance buffet (except before Saturday matinees) and is open during intermission for refreshments. Call 415 861 8150 for buffet reservations. Patrons arriving before the front doors open will be admitted at the North Carriage Entrance.

Refreshments are available on the Lower Lounge level as well as the Box, Orchestra, and Dress Circle levels during all performances. Drinking fountains are located on all levels near the elevators.

IN THE OPERA HOUSECoat and parcel check rooms are located on the north and south side of the Main Lobby. For the safety and comfort of our audiences, all parcels, backpacks, luggage, etc., must be checked.

Lost & Found is located at the north coat check room. Call 415 621 6600, Monday–Friday, 8:30–11:30 am, or email wmpac-lostandfound@sfgov.org.

Opera glasses are available for $5 rental at the north coat check room. You’ll need to supply a valid ID as a deposit.

Restrooms are located on all floors except Main Lobby level (first floor).

Courtesy telephones, for local calls only, are located on the Main Lobby level, directly across from the elevators.

Taxis line up after performances at the Grove Street Taxi Ramp, located on the south side of the

Opera House. Taxis are provided on a first-come, first-served basis and cannot be guaranteed. Our staff will assist you.

Walking tours of the San Francisco War Memorial and Performing Arts Center are available most Mondays at select hours. For information, call 415 552 8338.

PLEASE NOTELate seating isn’t allowed while a work is progress, for the sake of the performers and other patrons. You will be asked to stand until a break in the action, which might be at intermission.

Audio/visual recordings of any kind of the performance are strictly forbidden.

Mobile devices should be turned off and stowed before the performance as the lights and sounds are a distraction.

Children attending a performance must have a ticket and occupy that seat; no children-in-arms or infants, please.

We recommend that children be at least eight years old to attend Repertory Season performances.

Opera House management reserves the right to remove any patron creating a disturbance.

Smoking is not permitted in the Opera House.

Emergency services are available in the Opera House Lower Lounge level, where an EMT is on duty.

NEW! BEVERAGES ALLOWED IN THE AUDITORIUMSF Ballet, SF Opera, and SF Symphony are experimenting during the first six months of 2017 with allowing audiences to enjoy beverages in the auditorium. Many other venues across the country have adopted similar policies, so that you don’t have to choose between enjoying a drink and all the other things you might want to do during intermission. You may bring drinks purchased in the venue into the auditorium, as long as they are in the approved compostable cup with a lid, which will be available at all bars in both the War Memorial Opera House and Davies Symphony Hall. All three companies will meet regularly to monitor this pilot effort and will decide, following the six-month trial period, whether or not to continue the program. We want your feedback, so look for a survey in your post-performance email and let us know what you think.

NCPHS 123015 Lu Chaiken fp.pdf

Job # / Name: NCPHS-497 MAT SSF Chaiken SF Ballet Ad Me01 Date: 12/22/2015

Publication: SF Ballet/Swan Lake Due at pub: 12/30/2015 Issue date: 2/19-2/28, 2016

Ad Size: Bleed: 8.625 x 11.125 Trim: 8.375 x 10.875 Live: 7.375 x 9.875

Sign Off: AD: IL Proofer: AE: DL

For a retiree, psychotherapist Dr. Lu Chaiken is awfully busy. She still sees clients. She attends seminars and parties at The Sequoias, goes to the opera and symphony, and dines with her many friends in the community. So what has Dr. Chaiken retired from? Cooking, cleaning and worrying about her future health care. If that sounds appealing, maybe it’s time for you to get busy, too. Call Candiece at (415) 351-7900 to learn more.

A Life Care Community415.922.9700 | sequoias-sf.org

1400 Geary Boulevard

This not-for-profit community is part of Northern California Presbyterian Homes and Services. License# 380500593 COA# 097

I still collectart,

but not as

friends.

fast as I collect

EAP full-page template.indd 1 12/30/15 1:59 PM

PROGRAMS 06 & 07 SAN FRANCISCO BALLET 11

Explore Ballet

Who are the new voices in the ballet world today? What makes a ballet a “classic”? How difficult is it to do the black swan’s famous turns in Swan Lake? What’s a typical day in the life of a dancer? SF Ballet’s Explore Ballet programs answer these questions and more. For more information, visit sfballet.org/explore.

2017 POINTES OF VIEW (POV) LECTURE SERIES

Wednesdays, 6:05–6:45 pm FREE and open to the public War Memorial Opera House, Orchestra Level Please use the carriage entrance on the north side of the building

Company artists, visiting scholars, and others offer key insights into the performance. All are welcome — you don’t need to buy a ticket to attend.

Apr 5 | Made for SF BalletDance Educator Mary Wood and Rubén Martín Cintas, a former SF Ballet principal dancer who is currently SF Ballet School faculty and pas de deux teacher, discuss the art of pas de deux. San Francisco Ballet School Trainees demonstrate the intricacies of partnering.

Apr 12 | Swan Lake Dance Scholar Carrie Gaiser Casey speaks with the people who make the magic happen backstage. Former Company dancers and current backstage production crew Laurie Cowden and Sedley Chew talk about their professional lives in the wardrobe and stage crew departments and their transition from dancer to backstage production crew.

May 3 | Cinderella©

Ballet Master Betsy Erickson and artists from the Company speak with dance educator Mary Wood on preparing to dance Christopher Wheeldon’s Cinderella©. What makes this ballet as thrilling for the artists to dance as it is for the audience to watch?

MEET THE ARTIST INTERVIEWS (AND PODCASTS)

Fridays, 7:00–7:30 pm Sundays, 1:00–1:30 pm War Memorial Opera House, Orchestra Level Open to all ticket holders for selected performances

For an inside look at the performance you’re about to see, come a bit early. Perfect for newcomers, balletomanes, and everyone in between, pre-performance Meet the Artist (MTA) interviews feature a conversation with an artist who worked on the performance. Curious about what our artists have to say? An archive of previous MTAs is available at sfballet.org/explore/podcasts.

AUDIENCE ENGAGEMENT PROGRAMS

BALLET APPRECIATION

Are you looking to deepen your knowledge of SF Ballet and the art form in general? This unique, in-depth series explores both the inspiration for the magic you see onstage and the intricacies of how we get it there. You’ll come away with an inside look into ballet in the 21st century. For more information: sfballet.org/ballet-appreciation.

BALLET 202: CONTEMPORARY BALLET

Aug 14, Aug 21, and Aug 28, 6–8 pm The future of balletWhy does San Francisco Ballet value new work and what exactly is contemporary ballet? Does it require different training or skills to dance new works? This new course provides the answers to these questions in three class sessions. Plus, you’ll get to speak with a choreographer who is creating a new work for SF Ballet’s 2018 Repertory Season.

MASTER CLASSESREGISTER TO DANCE OR OBSERVE

SF Ballet Master Classes provide in-depth looks at a ballet or choreographer, and are open to advanced dancers (ages 15–25) and observers. Upcoming is Tomasson’s Swan Lake (Apr 9). Advance registration required. For more, visit sfballet.org/masterclasses.

OPEN CLASSES AT SF BALLET SCHOOLLet your spirit soar as you experience the joy of moving in our beautiful studios.

ADULT BALLET CLASSES

Our open classes are inclusive and fun, a good workout that stretches your artistry as well as your muscles. Classes fill quickly — reserve your spot today. For more information: sfballet.org/adultballet.

BALLET FOR YOUNG CHILDREN

Give your child the gift of dance! Learning the joy of movement begins with Pre-Ballet classes for ages 4–7 at San Francisco Ballet School. Audition not required. Fall 2017 classes will be open for enrollment beginning April 4 and are first-come, first-served. Look for more information about free trial classes at sfballet.org/preballet.

ADULT BALLET WORKSHOP

June 5–9Why do kids always get to have all the fun? For the first time, SF Ballet School is organizing a summer dance workshop just for adults. Join acclaimed faculty and special guests in daily ballet technique and repertory classes in our beautiful studios with live accompaniment. For more information: sfballet.org/adultworkshop.

LET’S DANCE FAMILY WORKSHOP — CINDERELLA©

Apr 9, 2:30–3:30 pmAn enchanted day awaits your family at our Let’s Dance Family Workshop for Cinderella©. Kids and adults alike will discover the magical story, choreography, music, and costumes of Cinderella© during this 60-minute workshop. Whether or not your family has seen our production, our Cinderella© Let’s Dance Family Workshop is sure to spark your child’s imagination. Recommended for families with children ages 6–12. You are welcome to attend even if you do not have performance tickets to Cinderella©. Children must be accompanied by an adult and vice versa. For more information: sfballet.org/letsdance.

All Audience Engagement Programs are subject to change. The views, opinions, and information expressed are strictly those of the participants, and do not necessarily represent or imply any official position of San Francisco Ballet Association.

Sarah Van Patten teaches a Master Class on pantomime // © Erik Tomasson Let’s Dance Workshop // © Erik Tomasson

FULLY STAGED OPERA

Rameau: The Temple of Glory (Le temple de la Gloire)Philharmonia Baroque Orchestra & Chorale

The vivid musical imagination of French composer Jean-Philippe Rameau is brought to life in a lavish new staging of his opera-ballet.

April 28–30ZELLERBACH HALL

Libretto by VoltaireNicholas McGegan, conductorCamille Ortiz-Lafont, sopranoGabrielle Philiponet, sopranoChantal Santon-Jeffery, sopranoArtavazd Sargsyan, haute-contreAaron Sheehan, haute-contrePhilippe-Nicolas Martin, baritoneMarc Labonnette, baritone

New York Baroque Dance Company Philharmonia ChoraleBruce Lamott, director

Modern Day Premiere!

A co-production of Philharmonia Baroque Orchestra & Chorale, Cal Performances, and Centre de Musique Baroque de Versailles.

This program is presented with gracious leadership support from:

David Low & Dominique Lahaussois, Mark Perry & Melanie Peña, The Waverley Fund, The Bernard Osher Foundation, and National Endowment for the Artscalperformances.org

S E A S O N2016/17music dance theater

PerformancesCal U N I V E R S I T Y O F C A L I F O R N I A , B E R K E L E Y

PROGRAMS 06 & 07 SAN FRANCISCO BALLET 1312 SAN FRANCISCO BALLET SFBALLET.ORG

San Francisco Ballet LeadershipHELGI TOMASSONArtistic Director & Principal Choreographer

Helgi Tomasson, one of the supreme classical dancers of his generation, has led San Francisco Ballet for 32 years. Born in Iceland, he danced with Harkness Ballet, The Joffrey Ballet, and New York City Ballet, where he distinguished himself as a dancer

of technical purity, musicality, and intelligence. Tomasson assumed leadership of SF Ballet in 1985. Under his guidance, SF Ballet has developed into a Company widely recognized as one of the finest in the world. Tomasson has balanced devotion to the classics with an emphasis on new work, cultivating frequent collaborations and commissions with renowned choreographers such as William Forsythe, Christopher Wheeldon, Alexei Ratmansky, and Mark Morris, among others. Tomasson has choreographed more than 50 works for the Company, including full-length productions of Swan Lake, Sleeping Beauty, Romeo & Juliet (taped for Lincoln Center at the Movies), Giselle, and Nutcracker (taped for PBS’s Great Performances). He conceptualized the 1995 UNited We Dance festival, in which SF Ballet hosted 12 international companies; and the 2008 New Works Festival, which included 10 world premieres by 10 acclaimed choreographers. Tomasson has also connected SF Ballet to the world, through co-commissions with American Ballet Theatre, The Royal Ballet, and Dutch National Ballet; and major tours to Paris, London, New York City, China, and his native Iceland.

(© Chris Hardy)

(© David Allen)

(© Chris Hardy)

MARTIN WESTMusic Director & Principal Conductor

Martin West leads an Orchestra that is as musically excellent as it is adventurous. Under his direction the Orchestra has greatly expanded its catalog of recordings. Born in Bolton, England, he studied math at Cambridge. After studying music at the Royal Academy of Music in

London and St. Petersburg Conservatory of Music, he made his debut with English National Ballet and was appointed resident conductor. As a guest conductor, he has worked with New York City Ballet, National Ballet of Canada, and The Royal Ballet. He was named music director of SF Ballet in 2005. West’s recordings with SF Ballet Orchestra include the complete score of Tchaikovsky’s Nutcracker and an album of suites from Delibes’ Sylvia and Coppélia. He also conducted for the award-winning DVD of Neumeier’s The Little Mermaid as well as SF Ballet’s televised recording of Nutcracker for PBS and the 2015 in-cinema release of Romeo & Juliet for Lincoln Center at the Movies’ Great American Dance.

GLENN MCCOYExecutive Director

Glenn McCoy’s career in the performing arts spans more than 30 years of operations management and marketing. After working for San Francisco Opera and the Metropolitan Opera, he joined San Francisco Ballet in 1987. He served as company manager and general

manager before being appointed executive director in April 2002. McCoy has overseen the production of more than 60 new repertory and full-length ballets 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 and SF Ballet’s 75th Anniversary Season in 2008. He has overseen tapings of Lubovitch’s Othello, Tomasson’s Nutcracker, and Neumeier’s The Little Mermaid, which have been broadcast on PBS by Thirteen/WNET New York’s performing arts series Great Performances, as well as Tomasson’s Romeo & Juliet, which premiered in Lincoln Center at the Movies’ Great American Dance series in 2015.

PATRICK ARMANDAssociate Director, SF Ballet School

Born in Marseille, France, Patrick Armand studied with Rudy Bryans, his mother Colette Armand, and at the École 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 Théâtre Français de Nancy

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. A frequent guest teacher for schools and companies in Amsterdam, Florence, London, Naples, Tokyo, and Toronto, Armand was appointed teacher and ballet master of the Teatro alla Scala in Milan in 2006. In 1998 and 2009, he served as a jury member of the Prix de Lausanne and since 2010 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, Armand became SF Ballet School associate director.

(© Chris Hardy)(© David Allen)

You’ve spent your life accumulating wealth. And, no doubt, that wealth now takes many forms, sits in many places, and is managed by many advisors. Unfortunately, that kind of fragmentation creates gaps that can hold your wealth back from its full potential. The Private Bank can help.

The Private Bank uses a proprietary approach called the LIFE Wealth CycleSM to find those gaps—and help you achieve what is important to you.

To learn more, contact:Ralph DickmanVice President, Private Wealth Advisor408-279-7734ralph.dickman@unionbank.com or visit unionbank.com/theprivatebank

My wealth. My priorities.My partner.

©2016 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A.

Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor.

EAP full-page template.indd 1 9/6/16 11:24 AM

PROGRAMS 06 & 07 SAN FRANCISCO BALLET 15

Principal Dancers

Dancer headshots // © Chris Hardy and David Allen

DORES ANDRÉBorn in Vigo, Spain, Dores André trained with Antonio Almenara and at Estudio de Danza de Maria de Avila. She joined the Company in 2004, was promoted to soloist in 2012, and to principal dancer in 2015.

MATHILDE FROUSTEYMathilde Froustey was born in Bordeaux, France, and trained at the Marseille National School of Ballet and Paris Opera Ballet School. She danced with Paris Opera Ballet before joining SF Ballet as a principal dancer in 2013.

FRANCES CHUNGBorn in Vancouver, Canada, Frances Chung trained at Goh Ballet Academy before joining SF Ballet in 2001. She was promoted to soloist in 2005 and principal dancer in 2009.

JAIME GARCIA CASTILLAJaime Garcia Castilla was born in Madrid, Spain, and studied at the Royal Conservatory of Professional Dance. He was named an SF Ballet apprentice in 2001 and joined the Company as a corps de ballet member the following year. He was promoted to soloist in 2006 and to principal dancer in 2008.

SASHA DE SOLABorn in Winter Park, Florida, Sasha De Sola trained at the Kirov Academy of Ballet. She was named an SF Ballet apprentice in 2006 and joined the Company in 2007. She was promoted to soloist in 2012 and principal dancer in 2017.

ANGELO GRECOBorn in Nuoro, Italy, Angelo Greco trained at La Scala Ballet School in Milan. He danced with La Scala Ballet before joining SF Ballet as a soloist in 2016. He was promoted to principal dancer in 2017.

CARLO DI LANNOCarlo Di Lanno was born in Naples, Italy, and trained at La Scala Ballet School in Milan. He danced with La Scala Ballet and Staatsballett Berlin before joining San Francisco Ballet as a soloist in 2014. He was promoted to principal dancer in 2016.

TIIT HELIMETSBorn in Viljandi, Estonia, Tiit Helimets trained at Tallinn Ballet School. He danced with Estonian National Ballet and Birmingham Royal Ballet before joining San Francisco Ballet as a principal dancer in 2005.

TARAS DOMITROBorn in Havana, Cuba, Taras Domitro trained at Provincial School of Ballet, Alejo Carpentier and the National Ballet School of Cuba. He performed as a principal dancer with Ballet Nacional de Cuba prior to joining SF Ballet as a principal dancer in 2008.

LUKE INGHAM From Mount Gambier, South Australia, Luke Ingham trained at the Australian Ballet School. He danced with The Australian Ballet and Houston Ballet before joining SF Ballet as a soloist in 2012. He was promoted to principal dancer in 2014.

LORENA FEIJOOBorn in Havana, Cuba, Lorena Feijoo trained at the National Ballet School of Cuba. She danced with Ballet Nacional de Cuba, Ballet of Monterrey, Royal Ballet of Flanders, and The Joffrey Ballet prior to joining SF Ballet as a principal dancer in 1999.

DAVIT KARAPETYANBorn in Yerevan, Armenia, Davit Karapetyan trained at the Armenian School of Ballet and Schweizerische Ballettberufsschule. After dancing with Zurich Ballet, he joined SF Ballet as a principal dancer in 2005. He was appointed John and Barbara Osterweis Principal Dancer in 2013.

†Received training at San Francisco Ballet School

ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHERHelgi Tomasson

SOLOISTSMax Cauthorn†, Daniel Deivison-Oliveira†, Koto Ishihara†, Francisco Mungamba†,

Julia Rowe†, James Sofranko, Jennifer Stahl†, Lauren Strongin,Anthony Vincent†, Wei Wang†, Hansuke Yamamoto, WanTing Zhao†

APPRENTICESAlexandre Cagnat†, Shené Lazarus†, Davide Occhipinti†, Nathaniel Remez†, Isabella Walsh†

BALLET MASTER & ASSISTANT TO THE ARTISTIC DIRECTORRicardo Bustamante†

BALLET MASTERSFelipe Diaz†, Betsy Erickson†, Anita Paciotti†, Katita Waldo†

COMPANY TEACHERSHelgi Tomasson, Patrick Armand, Ricardo Bustamante†, Felipe Diaz†

CHOREOGRAPHER IN RESIDENCEYuri Possokhov

MUSIC DIRECTOR & PRINCIPAL CONDUCTORMartin West

PRINCIPAL DANCERS

PRINCIPAL CHARACTER DANCERS

CORPS DE BALLET

Dores AndréFrances ChungSasha De SolaCarlo Di Lanno Taras DomitroLorena Feijoo

Mathilde FrousteyJaime Garcia Castilla

Angelo Greco

Sofiane SylveYuan Yuan TanRichard C. BarkerPrincipal Dancer

Sarah Van PattenDiana Dollar Knowles

Principal DancerJoseph Walsh

Vanessa ZahorianDiane B. WilseyPrincipal Dancer

Tiit Helimets Luke Ingham

Davit KarapetyanJohn and Barbara Osterweis

Principal DancerMaria Kochetkova

Herbert FamilyPrincipal Dancer

Vitor LuizCarlos QueneditAaron Robison

Ricardo Bustamante†

Kamryn Baldwin†Sean Bennett†

Ludmila Bizalion†Samantha Bristow†Thamires Chuvas†

Diego Cruz†Isabella DeVivo†

Megan Amanda EhrlichJahna Frantziskonis

Val Caniparoli†

Benjamin Freemantle†Jordan Hammond†

Jillian HarveyEsteban HernandezEllen Rose Hummel†

Blake Kessler†Elizabeth Mateer

Norika Matsuyama†Lee Alex Meyer-Lorey†

Rubén Martín Cintas

Steven Morse†Kimberly Marie Olivier†

Sean Orza†Lauren Parrott†

Elizabeth Powell†Alexander Reneff-Olson†

Rebecca Rhodes†Emma Rubinowitz†

Skyla Schreter

Anita Paciotti†

Natasha Sheehan†Henry Sidford†

Miranda Silveira†John-Paul Simoens†

Myles Thatcher†Mingxuan Wang†

Lonnie WeeksMaggie Weirich†

Ami Yuki†

PROGRAMS 06 & 07 SAN FRANCISCO BALLET 1716 SAN FRANCISCO BALLET SFBALLET.ORG

RICARDO BUSTAMANTE†Born in Medellín, Colombia Joined in 1980 Named principal character dancer in 2007

RUBÉN MARTÍN CINTASBorn in Reus, Spain Joined in 2000 Named principal character dancer in 2014

VAL CANIPAROLI†Born in Renton, WA Joined in 1973 Named principal character dancer in 1987

ANITA PACIOTTI†Born in Oakland, CA Joined in 1968 Named principal character dancer in 1987

MAX CAUTHORN†Born in San Francisco, CaliforniaNamed apprentice in 2013Joined in 2014Promoted to soloist in 2017

FRANCISCO MUNGAMBA†Born in Madrid, Spain Joined in 2011 Promoted to soloist in 2016

DANIEL DEIVISON-OLIVEIRA†Born in Rio de Janeiro, Brazil Joined in 2005 Promoted to soloist in 2011

JULIA ROWE†Born in Elizabethtown, PA Joined in 2013 Promoted to soloist in 2016

KOTO ISHIHARA†Born in Nagoya, Japan Joined in 2010 Promoted to soloist in 2014

JAMES SOFRANKOBorn in Marion, IN Joined in 2000 Promoted to soloist in 2007

Soloists

Principal Character DancersPrincipal Dancers

Dancer headshots // © Chris Hardy and David Allen†Received training at San Francisco Ballet School

MARIA KOCHETKOVABorn in Moscow, Russia, Maria Kochetkova trained at the Bolshoi Ballet School in Moscow and danced with The Royal Ballet and English National Ballet before joining SF Ballet as a principal dancer in 2007. She was appointed Herbert Family Principal Dancer in 2012.

YUAN YUAN TANYuan Yuan Tan was born in Shanghai, China, and trained at Shanghai Dancing School and Stuttgart’s John Cranko School. She joined SF Ballet as soloist in 1995 and was promoted to principal dancer in 1997. She was appointed Richard C. Barker Principal Dancer in 2012.

VITOR LUIZBorn 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.

SARAH VAN PATTENSarah Van Patten, born in Boston, Massachusetts, danced with Massachusetts Youth Ballet and the Royal Danish Ballet before joining SF Ballet as a soloist in 2002. She was promoted to principal dancer in 2007. She was appointed Diana Dollar Knowles Principal Dancer in 2013.

CARLOS QUENEDITBorn in Havana, Cuba, Carlos Quenedit trained at the National Ballet School of Cuba. He began his career at Ballet Nacional de Cuba and has danced with Miami City Ballet, Ballet de Monterrey, Royal Winnipeg Ballet, and The Joffrey Ballet. He joined SF Ballet as a soloist in 2012 and was promoted to principal dancer in 2014.

SOFIANE SYLVESofiane Sylve was born in Nice, France, where she studied at the Académie de Danse. She danced with Germany’s Stadttheater, Dutch National Ballet, and New York City Ballet prior to joining SF Ballet as a principal dancer in 2008.

JOSEPH WALSHBorn in Doylestown, Pennsylvania, Joseph Walsh trained at Walnut Hill School of the Arts and Houston Ballet II. He danced with Houston Ballet before joining SF Ballet as a soloist in 2014. He was promoted to principal dancer that same year.

AARON ROBISONBorn in Coventry, England, Aaron Robison trained at the Institut del Teatre in Barcelona and at The Royal Ballet School. He danced with Birmingham Royal Ballet, Ballet Corella, and Houston Ballet prior to joining SF Ballet as a principal dancer in 2016.

VANESSA ZAHORIANBorn in Allentown, Pennsylvania, Vanessa Zahorian trained at the Kirov Academy of Ballet and Central Pennsylvania Youth Ballet. 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.

18 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 19

Soloists

THAMIRES CHUVAS†Born in Rio de Janeiro, BrazilNamed apprentice in 2014Joined in 2015

DIEGO CRUZ†Born in Zaragoza, SpainJoined in 2006

ESTEBAN HERNANDEZBorn in Guadalajara, MexicoJoined in 2013

ISABELLA DEVIVO†Born in Great Neck, New YorkJoined in 2013

JAHNA FRANTZISKONISBorn in Tucson, ArizonaJoined in 2015

ELLEN ROSE HUMMEL†Born in Greenville, South CarolinaNamed apprentice in 2011Joined in 2012

MEGAN AMANDA EHRLICHBorn in Charleston, South CarolinaNamed apprentice in 2011Joined in 2012Returned in 2017

BENJAMIN FREEMANTLE†Born in New Westminster, British Columbia, CanadaNamed apprentice in 2014Joined in 2015

BLAKE KESSLER†Born in Jacksonville, FloridaNamed apprentice in 2015Joined in 2016

JORDAN HAMMOND†Born in Irvine, CaliforniaJoined in 2010

ELIZABETH MATEERBorn in Boca Raton, FloridaJoined in 2016

JILLIAN HARVEYBorn in Hollidaysburg, PennsylvaniaNamed apprentice in 2012Joined in 2012

†Received training at San Francisco Ballet School Dancer headshots // © Chris Hardy and David Allen

Corps de Ballet

KAMRYN BALDWIN†Born in Honolulu, Hawai’iJoined in 2015

JENNIFER STAHL†Born in Dana Point, CA Named apprentice in 2005 Joined in 2006 Promoted to soloist in 2013

SEAN BENNETT†Born in San Francisco, CaliforniaNamed apprentice in 2011Joined in 2012

LAUREN STRONGINBorn in Los Gatos, CA Joined as a soloist in 2015

ANTHONY VINCENT†Born in Phoenix, AZ Named apprentice in 2004 Joined in 2006 Promoted to soloist in 2008

WANTING ZHAO†Born in Anshan, Liaoning, China Joined in 2011 Promoted to soloist in 2016

LUDMILA BIZALION†Born in Rio de Janeiro, BrazilNamed apprentice in 2006Joined in 2007 Returned in 2016

WEI WANG†Born in Anshan, Liaoning, China Named apprentice in 2012 Joined in 2013 Promoted to soloist in 2016

SAMANTHA BRISTOW†Born in Media, PennsylvaniaNamed apprentice in 2014Joined in 2015

HANSUKE YAMAMOTOBorn in Chiba, Japan Joined in 2001 Promoted to soloist in 2005

20 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 21

Corps de Ballet

HENRY SIDFORD†Born in Marblehead, MassachusettsNamed apprentice in 2011Joined in 2012

MIRANDA SILVEIRA†Born in Rio de Janeiro, BrazilNamed apprentice in 2013Joined in 2014

MAGGIE WEIRICH†Born in Portland, OregonNamed apprentice in 2014Joined in 2015

JOHN-PAUL SIMOENS†Born in Omaha, NebraskaNamed apprentice in 2014Joined in 2015

AMI YUKI†Born in Saitama, JapanNamed apprentice in 2014Joined in 2015

MYLES THATCHER†Born in Atlanta, GeorgiaNamed apprentice in 2009Joined in 2010

MINGXUAN WANG†Born in Qingdao, ChinaNamed apprentice in 2013Joined in 2014

LONNIE WEEKSBorn in Los Alamos, New MexicoJoined in 2010

NORIKA MATSUYAMA†Born in Chiba, JapanJoined in 2014

LEE ALEX MEYER-LOREY†Born in Zurich, SwitzerlandNamed apprentice in 2003Joined in 2004Returned in 2013

REBECCA RHODES†Born in Chicago, IllinoisNamed apprentice in 2008Joined in 2009

STEVEN MORSE†Born in Harbor City, CaliforniaJoined in 2009

SEAN ORZA†Born in San Francisco, CaliforniaNamed apprentice in 2007Joined in 2008

EMMA RUBINOWITZ†Born in San Francisco, CaliforniaNamed apprentice in 2012Joined in 2013

KIMBERLY MARIE OLIVIER†Born in New York, New YorkNamed apprentice in 2009Joined in 2010

LAUREN PARROTT†Born in Palm Harbor, FloridaNamed apprentice in 2012Joined in 2013

SKYLA SCHRETERBorn in Chappaqua, New YorkJoined in 2014

ELIZABETH POWELL†Born in Boston, MassachusettsNamed apprentice in 2011Joined in 2012

NATASHA SHEEHAN†Born in San Francisco, CaliforniaJoined in 2016

ALEXANDER RENEFF-OLSON†Born in San Francisco, CaliforniaNamed apprentice in 2012Joined in 2013

†Received training at San Francisco Ballet School Dancer headshots // © Chris Hardy and David Allen PROGRAMS 06 & 07 SAN FRANCISCO BALLET 2322 SAN FRANCISCO BALLET SFBALLET.ORG

MAR 31 – APR 12

06Composer: Peter Ilyich Tchaikovsky

Choreographer: Helgi Tomasson

Black Swan Pas de Deux and Act II Choreography: After Marius Petipa and Lev Ivanov

Scenic and Costume Design: Jonathan Fensom

Lighting Design: Jennifer Tipton

Projection Design: Sven Ortel

Hair, Wig, and Make-Up Design: Michael Ward

Assistant to Mr. Tomasson on this Production: Lola de Avila

World Premiere: March 4, 1877 — Bolshoi Theatre; Moscow, Russia. Choreography by Julius Reisinger.

Premiere of the Petipa-Ivanov Production: February 8, 1895 — Mariinsky Theatre; St. Petersburg, Russia

San Francisco Ballet Premiere: September 27, 1940 — War Memorial Opera House; San Francisco, California.Choreography by Willam Christensen.

Premiere of Current San Francisco Ballet Production: February 21, 2009 — War Memorial Opera House; San Francisco, California

These performances of Swan Lake are made possible by Lead Sponsor Diane B. Wilsey; Major Sponsors Sonia H. Evers, Stephen and Margaret Gill Family Foundation, and Marissa Mayer and Zachary Bogue; and Sponsors Katherine and Gregg Crawford, Joseph and Marianne Geagea, and the Richard Thalheimer Family.

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.

Swan Lake is family-friendly. Recommended for children eight and up.

SWAN LAKE

Maria Kochetkova in Tomasson’s Swan Lake // © Erik Tomasson PROGRAMS 06 & 07 SAN FRANCISCO BALLET 2524 SAN FRANCISCO BALLET SFBALLET.ORG

PETER ILYICH TCHAIKOVSKYComposer

Peter Ilyich Tchaikovsky (1849–1893), an enduringly popular Russian composer of the late Classical period, wrote the scores for the ballets Swan Lake, The Sleeping Beauty, and The Nutcracker. Although Tchaikovsky displayed an early passion for music, his parents sent him to school for a career as a civil servant. At age 21, he enrolled at the St. Petersburg Conservatory. Tchaikovsky’s work was first publicly performed in 1865 and, by 1875, he had won widespread acclaim for his music. Despite a tumultuous personal life, Tchaikovsky’s body of work constitutes 169 pieces including symphonies, operas, ballets, concertos, cantatas, and songs. Tchaikovsky died suddenly on November 6, 1893, just six days after conducting the premiere of his Sixth Symphony, the “Pathétique.”

HELGI TOMASSONChoreographer

Please see page 15

MARIUS PETIPA Original Choreographer, Black Swan Pas de Deux and Act II

Marius Petipa (1818–1910), the “father of classical ballet,” is considered one of the greatest choreographers of all time. Born in Marseilles, France in 1819, he was educated at the Grand College in Brussels and also studied music at the Brussels Conservatory. Petipa was ballet master and principal choreographer of the Imperial Ballet (now Mariinsky Ballet) from 1871 until 1903. His career in St. Petersburg coincided with what is known as the “golden age of Russian ballet,” when the art form flourished under the patronage of the Emperor in the twilight of Imperial Russia. Petipa created more than fifty ballets, including Don Quixote, La Bayadère, and The Sleeping Beauty. He also revived a substantial number of existing works. Many of these revivals would go on to become the definitive versions on which all subsequent productions would be based, including Le Corsaire, Giselle, and Swan Lake (with Lev Ivanov). Likewise, many dances have survived in an independent form from Petipa’s works, in versions either based on the original or choreographed anew by others. Petipa’s full-length works and individual pieces that have survived in active performance are considered cornerstones of the ballet repertory.

JONATHAN FENSOMScenic and Costume Designer

Jonathan Fensom is a noted scenic and costume designer working in theater, opera, and ballet. He has designed extensively for Shakespeare’s Globe, including Measure for

Measure, King John, Farinelli and The King, The Changeling, The Duchess of Malfi, Gabriel, A Midsummer Night’s Dream, The Globe Mysteries, Henry V, Hamlet, Henry IV Part 1 and Part 2, King Lear, and Love’s Labour’s Lost. Fensom was associate designer on Disney’s The Lion King. Other theater productions include Arcadia for the English Touring Theatre; As You Like It with Shakespeare Theatre, Washington, DC; Lucia di Lammermoor and Jacobin at the Buxton Festival; Pygmalion and The American Plan at Theatre Royal Bath; and Canvas at the Chichester Festival. Fensom did the scenic design for Journey’s End in London’s West End and on Broadway, for which he was nominated for a 2007 Tony Award for Best Scenic Design of a Play.

JENNIFER TIPTONLighting Designer

Jennifer Tipton is an internationally known, award-winning lighting designer who works in dance, theater, and opera. Born in Columbus, Ohio, she graduated from Cornell University and learned dance lighting from Thomas Skelton. Her recent work in dance includes Liam Scarlett’s The Age of Anxiety for The Royal Ballet and Alexei Ratmansky’s Shostakovich Trilogy for SF Ballet and American Ballet Theatre, as well as Paul Taylor’s American Dreamer. Tipton, who is principal lighting designer for the Paul Taylor Dance Company, also teaches lighting at the Yale School of Drama. She won the 1977 Tony Award for Best Lighting Design for The Cherry Orchard, the 1989 Tony Award for Jerome Robbins’ Broadway, and the Drama Desk Award for Outstanding Lighting Design twice. Tipton received the Dorothy and Lillian Gish Prize in 2001, the Jerome Robbins Prize in 2003, and the Mayor’s Award for Arts and Culture in New York City in April 2004. In 2008 she was made a United States Artists “Gracie” Fellow and a MacArthur Fellow.

SVEN ORTELProjection Designer

Sven Ortel creates projections and imagery for theater, opera, dance, and musicals. Born in Cologne, Germany, he studied theatrical lighting design in London, where he developed a keen interest in digital technologies. In 2001 he joined up with Dick Straker and his company Mesmer to provide the National Theatre, London with realization and design services for more than 20 productions. They also established a video department, introducing technologies and techniques that have since become standard. Ortel’s work has been seen all over the world, from Complicite’s Measure for Measure and A Disappearing Number to The Ring Cycle at the Mariinsky Opera. Ortel’s work has been recognized with a Tony Award

BIOGRAPHIES

SWAN LAKE

In 1988, three years into his tenure as San Francisco Ballet’s artistic director and principal choreographer, Helgi Tomasson produced Swan Lake, one of the most beloved and enduring of the classical ballets. “It’s ballet at its most beautiful,” Tomasson says. “I remember seeing films of it when I was very young, and to me it was the ultimate in ballet.” It was also the ultimate next step in making a name for SF Ballet, which was more of a regional troupe then, before developing the international status it has now. “I was very proud of that production because we needed it at that time,” Tomasson says. “Swan Lake catapulted us into a major company.”

Swan Lake’s heritage goes back to 1877, when Julius Reisinger choreographed the first production at the Bolshoi Theatre. It was only moderately successful, and its composer, Peter Ilyich Tchaikovsky, considered his first attempt at writing ballet music a failure. Eighteen years later (unfortunately after Tchaikovsky’s death in 1893), the Swan Lake produced by Marius Petipa and Lev Ivanov was considered a masterpiece.

SF Ballet premiered its first Swan Lake in 1940, choreographed by Willam Christensen, ballet master of what was then San Francisco Opera Ballet. In 1988 Tomasson created his own version, based on Petipa and Ivanov’s landmark ballet. He retained much of the choreography and all of the spirit of the Petipa/Ivanov version while making changes that clarified the story. The 1988 production served the Company for 21 years, until Tomasson decided to revamp the ballet for the 2009 Repertory Season. “Swan Lake is the most well-known ballet of all the full-lengths, and probably the most universally loved,” he says. “I didn’t want it to become a museum piece.”

nomination for Disney’s Newsies in 2012 and a Drama Desk nomination for A Midsummer Night’s Dream in 2014.

MICHAEL WARDHair, Wig, and Make-Up Designer

Michael Ward works internationally in hair and make-up design for theater, opera, film, and television. He trained at the Bristol Old Vic Theatre School in England. Michael was the hair and makeup designer for the Disney musicals The Lion King and The Hunchback of Notre Dame. He has also designed for The Ring Cycle for English National Opera, and The Rake’s Progress in Chicago and Japan, and Richard Jones’ The Love for Three Oranges for Opera North. Michael combines his theater work with landscape design, designing gardens in Italy, France, and Britain.

LOLA DE AVILAAssistant to Mr. Tomasson on this Production

Lola de Avila, a former dancer, is a dance teacher, school director, and répétiteur. Born in Sacedón, Spain, de Avila was trained at her mother Maria de Avila’s school in Zaragoza and at the Rosella Hightower School in Cannes. As a dancer she performed a wide range of repertory with the Royal Chamber Ballet of Spain, Ballet of Madrid, and Teatro de la Zarzuela, partnered by Rudolf Nureyev and Erik Bruhn, among others. In fall 1992, de Avila became associate director of San Francisco Ballet School, a position she held until September 1999. After returning to Europe, de Avila became director of the Maria de Avila Ballet School. In summer 2006, de Avila returned to serve as associate director of SF Ballet School, until 2012. De Avila was awarded the 2010 Gold Medal for Merit in the Fine Arts, one of the highest distinctions in the arts given by the King of Spain and the Minister of Culture.

PROGRAM NOTES by Cheryl A. Ossola

San Francisco Ballet in Tomasson’s Swan Lake // © Chris Hardy

26 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 27

who, at a wonderful moment, come together and dance. When you think of something like the early 19th century, older people would wear silhouettes that were from slightly earlier, say from the 1790s. Peasants would have a completely different silhouette because they’re working class. So we’ve created a world that real characters inhabit.”

Creating that world involved artists and craftspeople in two countries, at the San Francisco Opera scenic and costume shops and seven individual costume makers in and around London. Fensom had the costumers use natural fabrics like silks and linens to add richness to the period costumes. The sets’ massive scale and functionality required that they be built with plywood and aluminum, which are stronger than typical theatrical materials such as Styrofoam and flats (canvas-covered wooden frames). Making the job more complex were challenges like requirements for scene changes — for example, one gigantic piece has to roll onstage but can’t appear to be on wheels.

Of course, all of this world-building is done in service to the dancing. For many aspiring ballerinas, Swan Lake is a dream ballet with the added appeal of a dual role. That was true for Principal Dancer Yuan Yuan Tan, who danced Odette/Odile a few years after joining the Company as a soloist in 1995; it was her first principal role in a full-length classical ballet. Coaching her was Irina Jacobson, an authority on 19th- and 20th-century ballets who danced with the Kirov (now Mariinsky) Ballet and was on the faculty of San Francisco Ballet School. “Irina was very tough,” Tan says. “I remember I was very challenged. But I did it and it was good.”

Asked if she has a preference for Odette (the White Swan) or Odile (the Black Swan), Tan demurs. “They’re so different,” she says. “They have their own way of doing things.” But ask her if she has a favorite scene or moment in the ballet and she turns mischievous: “When I jump off the cliff,” she says, laughing. “Just kidding.” She becomes serious again when talking about the need to grow in this dual role over time. “You cannot always stay the same,” she says. “You always want to do better than you did before.” Dancing the role now compared to when she was 19, for example, she says, “you feel different, the physique is different — artistically too, how you make it convincing.”

Making Odette/Odile convincing was difficult for Principal Dancer Maria Kochetkova at first; succeeding in the dual role meant overcoming her fear of it. “I never thought of myself as right for Swan Lake, so to find myself in it and be able to enjoy it was really important.” Finding herself came from uncovering the meaning behind the movement, she says. “When I understood how my White Swan moves, and Black Swan — when I started moving the way I felt and the way it was comfortable, the characters came naturally.”

For Kochetkova, one key aspect of dancing Odette is getting the arms right. “It’s not classical arms whatsoever,” she says. “I see Swan Lake as a contemporary ballet in the way it has to be done now; otherwise it’s going to look boring and it does not feel right.” It’s essential to find “this balance between being classical/traditional with proper classic technique” while moving “in a very different way,” she says. “I think it’s the way it has to be done now, and the only way ballerinas can enjoy it. Otherwise it becomes this really careful thing. A swan is a big bird with wings; that’s important to remember.”

That means the arms should have “fluidity, but not in a snake way or Arabian dance way,” Kochetkova continues. “She’s a swan; she’s not a creature. She may be a bit of a woman too. There is a famous Pushkin fairy tale [The Tale of Tsar Sultan] where there’s a beautiful woman who lives in a lake, and instead of arms she has wings. That’s how I imagine my swan.” For a more visual source of inspiration, she looks to The Swan Princess, a painting by Russian symbolist artist Mikhail Vrubel.

Swan Lake, Kochetkova says, is “very technically demanding, and it gets everything out of you too.” What she really likes, she says, is the point in the last act when “all the hard stuff is done and you have this beautiful music and you can really let go and enjoy.” That’s understandable, given that she calls Swan Lake “the hardest full-length I’ve done. Being my type of body, I have to work extra hard to make every single position extra long, extra large. So I get tired more than from any other ballet. And it gets me in shape. If I can do Swan Lake, I can do anything.”

It was time, Tomasson decided, to approach Swan Lake from a new perspective  —  and to do that, he wanted to collaborate with a designer who was new to ballet. He brought in Jonathan Fensom, a Tony Award and Olivier Award nominee (for Journey’s End, 2007, and Farinelli and the King, 2016) who has designed dozens of productions in London’s West End and on Broadway. For Fensom, whose limited ballet viewing had included The Royal Ballet’s Swan Lake, “the thought of doing a ballet was incredibly exciting — to respect what Swan Lake was as a classical piece of work but actually lift it,” he says. “Times change; we move on. We get more sophisticated, and I think we need to push the boundaries a little farther.”

Working with Fensom, Tomasson created a visually fresh concept while retaining choreography that draws on the ballet’s classical heritage. Though he liked the idea of pushing the visual boundaries to give new life to this venerable ballet, Tomasson’s intent, as always, was to stay true to the original, both choreographically and at heart. “Particularly the second act — you don’t really mess with that,” he says. “But there are so many other things you can do, scenically and with costumes, and even choreographically to some extent, in the first act and third act, which I had already done. A lot of it I kept, but there have also been elements that I have changed; it has to do with rethinking the whole production.” For example, in the 1988 production he replaced a waltz danced by the corps de ballet with a pas de deux for Odette and Prince Siegfried; he wanted Siegfried to approach Odette to convey his sorrow and ask for forgiveness. “For storytelling, I felt that I needed to make them connect in the end and explain why they both die,” he says. He kept that pas de deux in the 2009 production but chose more dramatic music for it.

The most important change in the 2009 production was the addition of a Prologue. “Helgi said that though it’s called Swan Lake, it was always Siegfried’s story because he was the character you were introduced to first,” says Fensom. “We wanted to make it Odette’s story, and to do that we needed to introduce her first.” Understanding how Von Rothbart brought Odette under his power, making her a swan by day and a woman by night, allows viewers to accept that Siegfried, searching for meaningful love, could find it in this glorious bird/woman. “Who is this swan that he falls in love with?” Tomasson says. “I needed to clarify that she is a real person that Rothbart has turned into a swan.”

Tomasson and Fensom worked together to present Swan Lake in a way that makes it accessible even first-time balletgoers who

don’t know the story. Together, the staging, environment, costumes, lighting, and projections make the story clear and compelling. “With this new setting, Swan Lake is different,” Tomasson says. “So many people have said they felt it was more approachable, not as much of a fairy tale.”

Although the sets echo the ballet’s centuries-old themes and emotions, they’re sleek and streamlined. Fensom chose one dominant scenic element for each set — simple, striking, and symbolic — and borrowed from the historic architecture and decor he saw in San Francisco’s City Hall and War Memorial Opera House and at the Louvre in Paris.

The first-act set “represents the oppression that Siegfried feels. He’s trapped,” Fensom says. In Act 2, the lake is “raw and rough and wild,” he says. And behind the elegant, abstract architecture of the third act, the reappearance of the moon reminds us of the lake — and the fact that Siegfried is now torn between two worlds. The starkness of the open stage emphasizes the scale of the set pieces as well as their sculptural nature. For Fensom, the latter is key. “We light dancers by the essence of them — they are sculptural forms in space,” he says. “I wanted to treat the set in the same way.”

His costume designs, with the same elegance and simplicity as the sets, reflect this sensibility as well. “I wanted to treat [Swan Lake] like an opera chorus, where everyone is different,” says the designer. “We create a world where they’re all individuals

SWAN LAKE CONTINUED

SWAN LAKE PRODUCTION CREDITSMusic: Peter Ilyich Tchaikovsky: Swan Lake, Op. 20. Costume Design Associate, Yvonne Milnes. Design Assistant to Mr. Ward, Carole Hancock. Tutus constructed by Yoshi Terashima, London, England. Costumes constructed by Phil Reynolds, Sasha Keir, Jane Johnson, Charles Hanrahan, Robert Gordon, Sue Kay, Karen Shannon, Mark Wheeler, London, England. Additional costumes constructed by the San Francisco Opera Costume Shop, Danielle McCartan, Costume Director. Wigs and Feather Headdresses constructed and dressed by Christine Sterritt at the Wig Workshop of London. Further wig dressing by Melanie Birch and the Wig Boys, San Francisco, California. Boots by Pluma, Portland, Oregon. Specialty shoes by John Hiatt, Salt Lake City, Utah. Scenic Design Associate, Chad Owens, San Francisco, California. Scenic Design Assistants, Alasdair Oliver, Alistair Turner, Jason Southgate, London, England. Video Design Associate, S. Katy Tucker, New York, New York. Video Design Assistant, Peter Vincent Acken, New York, New York. Scenic construction and painting by San Francisco Ballet Carpentry and Scenic departments at the San Francisco Opera Scenic Studios.

Swan Lake is full of memorable moments, some of them heartbreaking, all of them spectacular. In this tragic tale, the Swans dance in graceful ranks of feathered beauty, reflecting Odette’s sadness, discovery of love, and despair — but one sprightly foursome makes everyone smile. The Cygnets, or “little Swans,” as they’re affectionately known, zip through the playful “Dance of the Cygnets” with absolute precision. Matched in height (and, ideally, in leg length), the dancers shift their weight and snap through their steps with arms linked, performing in perfect sync. Though it’s only a minute and a half long, this pas de quatre is a favorite part of Swan Lake for many balletgoers — and a chance for young dancers to grab the spotlight.

FOUR LITTLE SWANSINSTANTEXPERT

San Francisco Ballet in Tomasson’s Swan Lake // © Erik Tomasson28 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 29

PROLOGUE: THE LAKESIDE

Taking a solitary walk by the lake, the young Princess Odette encounters the evil Von Rothbart. Overcome with fear, she turns and runs in the hope of escaping his power. Von Rothbart catches her and casts a spell on Odette, transforming her into a swan.

ACT I: OUTSIDE THE PALACE GATES

It is Prince Siegfried’s twenty-first birthday and courtiers and peasants have gathered to celebrate his coming of age. During the festivities, toasts are made and a pas de trois is danced in the prince’s honor. The queen mother arrives and presents her son with the gift of a crossbow. She informs him that as the time has come for him to marry, she will hold a ball the following evening, to be attended by young princesses from across Europe. The prince is to select the one who pleases him most.

Siegfried is morose, distraught that he cannot marry for love. As the revelers disperse, a flock of swans flying overhead catches the prince’s attention. He reaches for his crossbow and heads out alone into the night.

ACT II: THE LAKESIDE

At the lakeside, the prince encounters a magnificent flock of swans. He aims his crossbow but is startled when one of the swans is transformed into a beautiful woman. It is Odette, Queen of the Swans. Captivated by her soulful countenance, the prince approaches her. She is frightened and turns from him. When Siegfried assures her that he means no harm, Odette reveals to him that she and her companions have been placed under a spell by Von Rothbart. By day they are condemned to take the form of swans and only at night can regain human form. This spell can be broken only if a man promises his love and remains faithful to that vow. As soon as she has confided in the prince, Von Rothbart appears. Siegfried seizes his crossbow and takes aim, but Odette shields the evil enchanter, for if he should die the spell imprisoning her could never be broken. Von Rothbart escapes, drawing Odette away.

The flock of swan maidens dance a beautiful waltz. Siegfried returns, seeking Odette. She appears, and they express their tragic love in a pas de deux. When dawn begins to break, the pale light tells the maidens that they must again change back into swans. Left alone with Odette, Siegfried declares his eternal devotion. Odette bids him a tender farewell and reluctantly reassumes her enchanted form.

ACT III: THE BALLROOM

Guests assemble for the great ball in which Prince Siegfried is to find his bride. The queen mother and the prince appear, and five prospective fiancées (Spanish, Hungarian, Neapolitan, and a pair of sisters from Russia) present their national dances for the prince. Siegfried’s thoughts remain with Odette, and he informs his mother that he will not marry any of them. At the same moment, trumpets sound the arrival of two additional guests. They are Von Rothbart and his daughter Odile, whom he has transformed into a semblance of Odette. Siegfried is enraptured, convinced he has found Odette again. Siegfried and the beguiling Odile begin the exultant Black Swan pas de deux. During their dance, the real Odette appears as a vision, but Siegfried, enthralled by Odile doesn’t see her, and Von Rothbart spirits her away. At the conclusion of the dance, Siegfried declares his love for Odile and his desire to marry her. The Queen expresses her approval, but Von Rothbart demands that Siegfried swear a formal oath. The prince innocently complies, and when he has done so, Von Rothbart and Odile mockingly reveal their true identities. Siegfried now sees the vision of the weeping Odette and understands his mistake. Frantic, he flees the palace in search of his beloved.

ACT IV: THE LAKESIDE

The swans are grieving for their queen. With Siegfried’s broken vow, Odette’s hopes for love and freedom have vanished. Distraught, the prince enters and explains to his beloved that he, too, was betrayed by the evil magician. He begs Odette’s forgiveness and explains that he could never love another. Odette understands and forgives him. Nevertheless, the fatal error condemns her to remain a swan. Instead she determines that she will die. Von Rothbart endeavors to drive Siegfried away and keep Odette for himself, but the lovers defy him. Odette flings herself into the lake and Siegfried follows. Siegfried’s and Odette’s steadfast love breaks the enchanter’s spell and Von Rothbart, too, collapses and dies. With the curse removed, the lovers’ spirits take flight and are reunited for eternity.

STORY OF SWAN LAKE

San Francisco Ballet in Tomasson’s Swan Lake // © Erik Tomasson30 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 31

Sarah Van Patten and Tiit Helimets in Tomasson’s Trio // © Erik Tomasson

APR 5 – 1807TRIO

GHOST IN THE MACHINE WORLD PREMIERE

Composer: Peter Ilyich Tchaikovsky

Choreographer: Helgi Tomasson

Scenic Design: Alexander V. Nichols

Costume Design: Mark Zappone

Lighting Design: Christopher Dennis

Composer: Michael Nyman

Choreographer: Myles Thatcher

Scenic Design: Alexander V. Nichols

Costume Design: Susan Roemer

Lighting Design: Jim French

World Premiere: February 25, 2011 — San Francisco Ballet, War Memorial Opera House; San Francisco, California

These performances of Trio are made possible by Major Sponsor Mrs. Henry I. Prien.

The 2011 world premiere of Trio was made possible by Lead Sponsors The Bernard Osher Foundation, and Jennifer and Steven Walske; and Sponsors Sue and John Diekman, and O.J. and Gary Shansby.

World Premiere: April 5, 2017 — San Francisco Ballet, War Memorial Opera House; San Francisco, California

The 2017 world premiere of Ghost in the Machine is made possible by Lead Sponsors Fang and Gary Bridge, Shelby and Frederick Gans, David and Kelsey Lamond, and The Seiger Family Foundation, with additional support from the Byron R. Meyer Choreographers Fund of the San Francisco Ballet Endowment Foundation.

WITHIN THE GOLDEN HOUR©

Composers: Ezio Bosso and Antonio Vivaldi

Choreographer: Christopher Wheeldon

Scenic and Costume Design: Martin Pakledinaz

Lighting Design: James F. Ingalls

World Premiere: April 22, 2008 — San Francisco Ballet, War Memorial Opera House; San Francisco, California

These performances of Within the Golden Hour© are made possible by Lead Sponsors Chaomei Chen and Yu Wu, and Marie and Barry Lipman; Major Sponsors Hannah and Kevin Comolli, and Catherine and Mark Slavonia; and Sponsors O.J. and Gary Shansby, and ENCORE!

The 2008 world premiere of Within the Golden Hour© was made possible by San Francisco Ballet 75th Anniversary Sponsor the Stephen and Margaret Gill Family Foundation.

MADE FOR SF BALLETPROGRAM SPONSOR: THE BERNARD OSHER FOUNDATION

PROGRAMS 06 & 07 SAN FRANCISCO BALLET 3332 SAN FRANCISCO BALLET SFBALLET.ORG

PETER ILYICH TCHAIKOVSKYComposer

Peter Ilyich Tchaikovsky (1849–1893), an enduringly popular Russian composer of the late Classical period, wrote the scores for the ballets Swan Lake, The Sleeping Beauty, and The Nutcracker. Although Tchaikovsky displayed an early passion for music, his parents sent him to school for a career as a civil servant. At age 21, he enrolled at the St. Petersburg Conservatory. Tchaikovsky’s work was first publicly performed in 1865 and, by 1875, he had won widespread acclaim for his music. Despite a tumultuous personal life, Tchaikovsky’s body of work constitutes 169 pieces including symphonies, operas, ballets, concertos, cantatas, and songs. Tchaikovsky died suddenly on November 6, 1893, just six days after conducting the premiere of his Sixth Symphony, the “Pathétique.”

HELGI TOMASSONChoreographer

Please see page 15

ALEXANDER V. NICHOLSScenic Designer

Alexander Nichols designs lighting, scenery, costumes, and projections for theater, opera, music, and dance. Born in Berkeley, California, he started out designing scenery and lighting for Berkeley Ballet Theater, where his mother, Sally Streets, was artistic director, and his sister, former New York City Ballet Principal Kyra Nichols, made guest appearances. His designs for San Francisco Ballet include Death of a Moth, Later, Thread, RAkU, Trio, Francesca da Rimini, and Swimmer. Nichols has been resident lighting designer for Pennsylvania Ballet, Hartford Ballet, and American Repertory Ballet and lighting supervisor for American Ballet Theatre. Beyond ballet, Nichols worked in lighting design in the garage band days of Metallica, Exodus, and Lääz Rockit, and his Broadway credits include Hugh Jackman: Back on Broadway, Nice Work If You Can Get It, and Carrie Fisher’s Wishful Drinking. He is a recipient of a San Francisco Certificate of Honor for his work at American Conservatory Theater and has received four Isadora Duncan Awards, four Bay Area Critics Circle Awards, and three Dean Goodman Awards.

MARK ZAPPONECostume Designer

As a costume designer, Mark Zappone is known for thoughtful design, beautiful fit, and careful attention to detail. He started his career at Pacific Northwest Ballet (PNB) in 1983 as costume designer, shop supervisor, and wardrobe master. After a year at Ballet du Nord, he moved to Monte Carlo, where he managed

costume shops for Les Ballets de Monte-Carlo and Le Cabaret de Monte-Carlo. He also worked with Holiday on Ice, Miss USA, Miss Universe, and new productions for the Lido and the Moulin Rouge in Paris. Zappone has collaborated with renowned choreographers and designers such as Lucinda Childs, Yuri Possokhov, Twyla Tharp, Molissa Fenley, Christopher Wheeldon, Mark Morris, Martin Pakledinaz, Maurice Sendak, Helgi Tomasson, James Kudelka, Christopher Stowell, and Nicolo Fonte. As well as his numerous designs for PNB’s repertory, he has designed for San Francisco Ballet, New York City Ballet, Pennsylvania Ballet, Pittsburgh Ballet Theatre, Oregon Ballet Theatre, Teatro Zinzanni, and Wear Moi Dancewear of London.

CHRISTOPHER DENNISLighting Designer

Christopher Dennis, production director at San Francisco Ballet, is an accomplished lighting designer known for his memorable and evocative designs for classical as well as contemporary works. He served as the resident lighting designer and lighting coordinator at The National Ballet of Canada for 14 seasons, before joining San Francisco Ballet as Technical Director in 2010. In 2012, he was appointed production director. Dennis created lighting designs for many of the The National Ballet of Canada’s productions, including Aszure Barton’s Watch Her, James Kudelka’s Cinderella, Matjash Mrozewski’s A Delicate Battle, and Jean-Pierre Perreault’s The Comforts of Solitude. His work for SF Ballet includes Yuri Possokhov’s RAkU, The Rite of Spring, and Francesca da Rimini; as well as Helgi Tomasson’s Trio and Caprice. Dennis’ lighting designs are in the repertories of ballet companies around the world, including The Joffrey Ballet, American Ballet Theatre, Boston Ballet, and West Australia Ballet. In addition to his work in dance, Dennis has designed lighting for the Shaw and Stratford Festivals as well as other regional opera, theater and film productions throughout Canada. He served as lighting director for Mikhail Baryshnikov’s White Oak Dance Project and was assistant resident lighting designer for the Metropolitan Opera.

BIOGRAPHIES

TRIO

PROGRAM NOTES by Cheryl A. Ossola

In Trio, San Francisco Ballet Artistic Director and Principal Choreographer Helgi Tomasson captures the energy, momentum, and emotional tones of Peter Ilyich Tchaikovsky’s Souvenir de Florence. In expressing the concept of remembrance suggested by the music’s title, Tomasson infuses Trio with his childhood memories of listening to Tchaikovsky’s glorious music.

Tomasson first heard Souvenir de Florence decades ago, and he remembered it as “one thing from beginning to end,” he says. Listening to it again, he says, “I discovered almost immediately that it wasn’t.” He wondered if he should connect the movements, make the piece the continuous whole he’d remembered — but the more he considered that idea, the less he liked it. “I kept coming back to title, Souvenir,” he says, “images or remembrances” of what seemed to him like three distinct occasions. Reinforcing the trio concept was Music Director and Principal Conductor Martin West, who said the last two movements, which were written in Russia, should be played as one. They have a different flavor than the first two movements, which Tchaikovsky wrote in Florence.

The ballet is a visually rich triptych, with sets and costumes as lush as the choreography. In the first movement, a principal couple and 10 corps de ballet dancers soar through choreography that’s dynamic, elegant, and playful. Soloist Sasha de Sola, who dances the principal woman’s role in the first movement, describes it as “grand and sweeping — all of the steps, even the costume. When I dance it, I feel like I have to cover the whole stage — the music calls for it, but also the choreography. There are so many waltzes where it’s necessary to use the upper body to propel the legs. It’s grand and luscious.”

For Principal Dancer Vitor Luiz, the first movement is “all about the elegance and the style. We try to make it as smooth and

soft as possible without losing the brilliance. It’s joyful to dance and watch. Tchaikovsky really inspires me — he’s one of my favorite composers.”

The second movement, the adagio, is ballet’s traditional home for the slow, romantic pas de deux. But the depth and length of this nine-minute adagio made Tomasson think beyond a traditional love duet. “It has a certain sadness about it, a feeling of inevitability,” he says. “The first part is very longing and revealing, and it gets interrupted with those staccato violins, almost ghostlike, eerie.” When the melody repeats, he says, “it’s deeper, sadder. Something has happened.” He begins this section with a pas de deux — a solo man, a figure of death, watches a couple dance their declaration of love — then segues into a dance for three, in which the death figure wages gentle battle for the woman. Tomasson says he doesn’t see her fighting death. “She accepts it,” he says. “It’s like death is stronger than love.”

In the third movement, Tomasson uses what he describes as “Russian motif steps” drawn from character dance to reflect the music. “Very Russian sounding, but not overpowering,” he says. Near the end of the ballet the music builds, echoing the energy of the opening movement. “It gets very joyous, fast, and exciting.”

Luiz says Trio was the first ballet of Tomasson’s in which he was part of the creative process. Working with an in-house choreographer, he says, “you always learn a lot, and I think that’s what we want as dancers. You have to feel like you don’t know anything so you can always be learning something new.”

TRIO PRODUCTION CREDITSMusic: String Sextet in D Minor “Souvenir de Florence,” Op. 70. Costumes constructed by Mark Zappone et Co., Seattle, Washington. Scenic construction and painting by San Francisco Ballet Carpentry and Scenic Departments at the San Francisco Opera Scenic Studios.

San Francisco Ballet rehearses Thatcher’s Ghost in the Machine // © Erik Tomasson

All three choreographers of Made for SF Ballet began creating works while still successful dancers. Just as actors often gravitate toward directing, many dancers turn toward choreography. How do they learn this closely related, but quite different craft? Usually by drawing upon their own experiences and practicing a lot — with colleagues, students, and occasionally the advice of an experienced choreographer. Helgi Tomasson choreographed his first ballet, with George Balanchine’s encouragement, for students at School of American Ballet. Christopher Wheeldon started creating dances as a child at The Royal Ballet School, eventually winning a gold medal at the Prix de Lausanne with a solo he had created on himself. SF Ballet Corps de Ballet member Myles Thatcher started with a choreographic workshop, and spent 2015 as part of the Rolex Mentor and Protégé Arts Initiative program with choreographer Alexei Ratmansky. Leaping into choreography offers these artists a different form of expression that can be as challenging — and gratifying — as dancing.

BECOMING A CHOREOGRAPHERINSTANTEXPERT

34 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 35

MICHAEL NYMAN Composer

Michael Nyman made his mark in the late 1960s, coining the term “minimalism” and writing the libretto for Birtwistle’s 1969 opera Down by the Greenwood Side. He published the still classic book on new music, Experimental Music: Cage and Beyond in 1974. In 1976 he wrote music for Goldoni’s Il Campiello and formed his own ensemble, the Campiello Band. This became the Michael Nyman Band, a laboratory for his composition. Nyman’s film scores include a dozen Peter Greenaway films: The Draughtsman’s Contract; The Cook, the Thief, His Wife & Her Lover; and Prospero’s Books; as well as Neil Jordan’s The End of the Affair; Michael Winterbottom’s Wonderland and A Cock And Bull Story; Andrew Niccol’s Gattaca; Jane Campion’s The Piano, and the documentary Man on Wire. Nyman has written for orchestra, choir, string quartet, and the operas The Man Who Mistook His Wife For a Hat, Facing Goya, and Man and Boy: Dada. He has provided ballet music for a number of the world’s most distinguished choreographers. In 2008, Nyman published the photo-book Sublime. He has exhibited video and photography at the De La Warr Pavilion, the Tate Modern, the Reina Sophia Museum, and the Museum of Modern Art. Nyman’s first feature film, Nyman with a Movie Camera, is a shot-by-shot reconstruction of Dziga Vertov’s iconic Man with a Movie Camera. Nyman, who turned 70 in 2014, was celebrated at a concert at the Barbican in London in 2016.

MYLES THATCHERChoreographer

Myles Thatcher is a corps de ballet dancer with San Francisco Ballet and a choreographer. Born in Atlanta, Thatcher trained at The Harid Conservatory, Ellison Ballet, and at San Francisco Ballet School. He spent a year as a SF Ballet School trainee before being named an apprentice in 2009 and joining the corps de ballet in 2010. As a dancer, he has performed principal or featured roles in many classical and contemporary ballets, and as Paris in the 2015 film of Tomasson’s Romeo & Juliet for Lincoln Center at the Movies’ Great American Dance. Thatcher began choreographing while still a trainee in 2008. His In the Passerine’s Clutch premiered at the 2013 Repertory Season Gala and was followed in 2015 by his Manifesto, which was nominated

for an Isadora Duncan Award for Outstanding Achievement in Choreography. In 2015, Thatcher also created Passengers for The Joffrey Ballet and Polaris for New York City Ballet.

ALEXANDER V. NICHOLS Scenic Design

Please see page 34

SUSAN ROEMERCostume Design

Susan Roemer, a former professional dancer in San Francisco, is a costume, dancewear, and sportswear designer. Originally from Milwaukee, Roemer danced with Milwaukee Ballet and other small organizations across the US before moving to California to join Smuin Ballet in 2007. Roemer created her first costumes for Smuin Ballet’s Choreography Showcase in 2012. A year later she founded her business, S-Curve Apparel & Design, through which she produces costumes and athletic apparel. Roemer first worked with Myles Thatcher creating costumes for In the Passerine’s Clutch. She has also designed costumes for Amy Seiwert’s Imagery, Post:Ballet, Diablo Ballet, Menlowe Ballet, Ballet Memphis, Ballet West, Joffrey Ballet, Singapore Dance Theatre, and on the television series Flesh & Bone.

JIM FRENCHLighting Designer

Jim French, lighting supervisor for San Francisco Ballet, designs lighting for performing arts and live events. Following extended stints with the Martha Graham Dance Company and Twyla Tharp Dance, French enjoyed nine years as resident designer for New York’s Cedar Lake Contemporary Ballet. In dance, he has collaborated with Bandaloop, Ballet San Jose, Ballett Basel (Switzerland), Carte Blanche (Norway), Joe Goode Performance Group, Post:Ballet, Richmond Ballet, and choreographers Amy Seiwert, Jessica Lang, Crystal Pite, Pascal Rioult, and Val Caniparoli. In theater, he has designed lighting for Marin Theatre Company, Pittsburgh Irish and Classical Theatre, Shotgun Players, Just Theater, and New York’s Playwrights Horizons and Primary Stages. He has been a house lighting designer at SF Jazz, and volunteers for Dancers Responding to AIDS and Bike East Bay.

Choreographers contemplating a new work find inspiration in all kinds of places — a piece of music that stirs up emotions, an image that triggers an image or memory, a snippet of history that leads to a story idea. SF Ballet Corps de Ballet member Myles Thatcher’s imagination was sparked by a quote by comedian

Louis C.K.: “The world is amazing and nobody’s happy.” Thatcher interpreted the quote to mean that “it’s easy to get stuck in our own personal agendas, baggage, and dramas,” he says. “To get out of that, first we need each other, to relate to each other and be there as a community.”

BIOGRAPHIES

GHOST IN THE MACHINE WORLD PREMIERE

PROGRAM NOTES by Cheryl A. Ossola

For Thatcher, the first step in creating a new work is finding the music. For this ballet, the second he has created for SF Ballet, he turned to the work of composer Michael Nyman. Thatcher selected seven short pieces and arranged them in a structural and emotional arc to fit his concept. “I wanted [music] that had some darkness and pain, but also had lightness and joy to it,” he says. “[Michael Nyman’s] music has all of that, especially for being minimalist music. There’s such emotion in the subtext — it can emote but it doesn’t dictate. It gives me freedom to play.” Minimalist music relies less on melody and more on rhythm, repetition, and subtle shifts. The shifting, Thatcher says, provides “a frame for the [ballet’s] structure. [This music is] purely mathematical, so it’s really nice to work with; you can explore.”

With a musical framework in place, Thatcher turned his focus to choreography, and “playing with a sense of community, whether it’s positive or negative, and how it influences us,” he says. “I’ve been exploring how we interact with society and how society can interact with us. We can be in a room full of people and still feel absolutely alone.” In his new work, he has created a complex internal structure in which dancers group and regroup in constantly shifting numbers. At times a single dancer comes into focus, but it’s not long before he or she is reabsorbed into the group. This shifting ensemble fits the theme of community, but it’s also Thatcher’s preference in terms of ballet structure. Though he acknowledges the value of “having a whole journey for one person within a ballet,” he says, an ensemble ballet is “more exciting to watch, for me, and that’s how I enjoy creating.”

The ballet opens with a couple in conflict. In rehearsals Thatcher tells Principal Dancers Vanessa Zahorian and Joseph Walsh that the first moments of their duet “should feel like a face-off at an old abandoned warehouse.” Later he explains that they’re like “those people who enjoy confrontation. In the beginning, we’re not sure if they’re having fun. It’s like when you have chemistry with someone who isn’t really good for you; there’s a toxicity there, but there’s pleasure in that. I wanted that kind of dynamic.”

From this confrontation, the ballet moves through expressions of sadness and rejection to its turning point, a duet created on Principal Dancers Dores André and Carlo Di Lanno. These two, who seem to be in love but aren’t quite connecting, are the opposite of the combative couple, Thatcher says. They have chemistry, “but for some reason they can’t realize it in the context of the group. Maybe they aren’t supposed to be together. Maybe there’s something preventing them from being together.” Even if they don’t remain a couple (a possibility Thatcher leaves open-ended), their struggle to accept love opens the door to a happier state within this

small community. At this point in the ballet, Thatcher asks his dancers to be “simple and human.” Conflict and isolation give way to empathetic hugs, a serene and imaginative moment of togetherness inspired by (of all things) a Rolodex, some comic relief, and a pervasive feeling of acceptance.

In creating the ballet’s structure, Thatcher works instinctively, then analyzes what he’s created. “I listen to my intuition and then question why I felt that.” The questioning is necessary “so I can articulate [what I’ve done] to myself and to my dancers, so they get the right picture,” he says. “I have to go by feeling first; if I over-intellectualize the reasoning behind things first, it never works.”

The movement he has created both emphasizes and tests the community theme. Throughout the ballet, we see fluidity and continuity, weighted movements, supported falls, gentle repositionings, flocking passages of unison steps, and times when members of the group who seem to need an emotional boost are given a physical one. There’s no shying away from emotion here — Thatcher wants heart in his movement, and softness; he wants the torso to flex and extend as much as an arm or leg. The goal is to “bring some humanity into it,” he says. “I’m fascinated by dynamics in movement that my generation has developed, or the one before us, like with hip-hop and a way of moving that articulates the four points of the shoulders and the hips. It’s expressive. Even just softening here” — he collapses his chest — “means so much.”

Threaded throughout are movement motifs that reinforce the theme. An arm snakes, its movement completed by the hand flipping 180 degrees; both hands slide across the torso on diagonals, one up to the heart, one down to the hip. There’s rocking, reaching, and, most important, embracing. In developing motifs, Thatcher says he sees “theme sensations, if that makes sense. I try to find steps that have the same sensations for the dancers.” So when what he calls “theme arms” might extend horizontally in front of the body in one bit of choreography, they retain that shape and quality when they move overhead.

From 2014 to 2015, Thatcher spent a year in the Rolex Mentor and Protégé Arts Initiative under the mentorship of choreographer Alexei Ratmansky, whose neoclassical ballets often emphasize our bonds as human beings. That experience, along with the work he’s done in the past few years, has aided Thatcher’s development as a dancemaker. Of particular note to Artistic Director and Principal Choreographer Helgi Tomasson is a more sophisticated way of “moving groups of dancers around, the complexity of the movement’s structure,” he says. “I’m glad to see how he’s growing. He’s very talented, and I have big hopes for him.”

Thatcher thinks it’s too soon to tell what effect spending a year under Ratmansky’s guidance has had on his development as an artist. But he does know this about his choreographic process: “A huge influence is the dancers — huge, huge, huge,” he says. “They really shape what [the ballet] is going to be. It’s really humbling.”

GHOST IN THE MACHINE PRODUCTION CREDITSMusic by Michael Nyman: “Queen of the Night” and “An Eye For Optical Theory” from The Draughtsman’s Contract, “Prawn-Watching” from A Zed and Two Noughts, “A Wild and Distant Shore,” “Lost and Found,” and “The Heart Asks Pleasure First/The Promise” from The Piano and “Wheelbarrow Walk” from Drowning by Numbers. Music used by arrangement with G. Schirmer, publisher and copyright owner. Costumes constructed by S-Curve Apparel & Design, San Francisco, California.

36 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 37

EZIO BOSSOComposer

Ezio Bosso is known internationally for his work as composer for dance, theater, and film; a conductor; and double-bass soloist. Born in Turin, Italy, Bosso learned to read and play music before the age of four. He has worked extensively in the dance world, including collaborations with Ballet Boyz at the Southbank Centre and Sadler’s Wells, Rafael Bonachela at the Sydney Dance Company, and Edwaard Liang at Houston Ballet. He is the only classical Italian composer to have been awarded the prestigious Italian Music Award. In 2010, Bosso’s composition We Unfold was named Best Music/Sound Composition at Australia’s Green Room Awards. His works have been produced at Philip Glass’s studio in New York, and have been performed on five continents.

ANTONIO VIVALDIComposer

Antonio Vivaldi (1678–1741) was an Italian Baroque composer, Catholic priest, and virtuoso violinist. Born in Venice, Vivaldi learned the violin from his father, a professional musician. Vivaldi was ordained as a priest, but left the priesthood because of ill health and became a master of violin at Ospedale della Pietà, an institution where orphans received instruction in trades and music. Recognized as one of the greatest Baroque composers, Vivaldi is known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and more than forty operas. After meeting Emperor Charles VI, Vivaldi moved to Vienna, hoping for a position in the royal court, but the Emperor died soon after Vivaldi’s arrival. Though his music was well received during his lifetime, it declined in popularity until its revival in the 20th century. Today, Vivaldi is among the most popular and widely recorded of Baroque composers.

CHRISTOPHER WHEELDONChoreographer

Christopher Wheeldon is an internationally known, award-winning choreographer. Born in Yeovil, England, Wheeldon trained at The Royal Ballet School and joined The Royal Ballet in 1991. He joined New York City Ballet (NYCB) two years later and was promoted to soloist in 1998. Wheeldon began choreographing for NYCB while still dancing. He served as NYCB’s first-ever artist in residence for a year before being named NYCB’s first resident choreographer in July 2001. Wheeldon has created seven ballets for San Francisco Ballet, as well as works for New York City Ballet, The Royal Ballet, American Ballet Theatre, Pennsylvania Ballet, Dutch National Ballet, Royal Swedish Ballet, Bolshoi Ballet and National Ballet of Canada. In 2007, Wheeldon founded Morphoses/The Wheeldon Company and was appointed an associate artist

for Sadler’s Wells Theatre in London. His Broadway credits include The Sweet Smell of Success and An American in Paris, for which he won the 2015 Tony Award for choreography. He has choreographed for Metropolitan Opera productions of La Gioconda (2006) and Carmen (2012) and the feature film Center Stage (2000). He has been awarded the Martin E. Segal Award from Lincoln Center, the American Choreography Award, a Dance Magazine Award, and the 2014 Leonard Massine Prize for choreography. Wheeldon was awarded an OBE in the 2016 New Year’s Honours.

MARTIN PAKLEDINAZScenic and Costume Designer

Martin Pakledinaz (1953–2012) was a costume and scenic designer who worked in theater, dance, opera, and film. Born in Sterling Heights, Michigan, he graduated from Wayne State University and received a master’s in drama from the University of Michigan. Pakledinaz was a prolific designer and his work has been seen throughout the United States and around the world. He collaborated frequently with SF Ballet, designing for choreographers Helgi Tomasson, Mark Morris, and Christopher Wheeldon. Pakledinaz also worked in theater and opera, frequently collaborating with Peter Sellars, and designing works for the Metropolitan Opera, Seattle Opera, Opera Salzburg, New York City Opera, Lyric Opera, Glimmerglass Opera, and the Canadian Opera Company. He was nominated 10 times for the Tony Award, winning for a 1999 revival of Kiss Me, Kate and Thoroughly Modern Millie (2002). Pakledinaz was posthumously inducted into the American Theater Hall of Fame.

JAMES F. INGALLSLighting Designer

James F. Ingalls designs lighting for dance, theater, opera, and symphony concerts. He is a Department of Dramatic Arts graduate of The University of Connecticut and studied stage management and lighting design at the Yale School of Drama. His designs for SF Ballet include Don Quixote, Onegin, Sylvia, Nutcracker, Helgi Tomasson’s Silver Ladders, and the 75th Anniversary New Works Festival. Ingalls’ work is seen in the repertories of American Ballet Theatre, Boston Ballet, Dutch National Ballet, Mark Morris Dance Group, National Ballet of Canada, Pacific Northwest Ballet, and Paul Taylor Dance Company. He designed Twyla Tharp’s 50th Anniversary Tour and Waiting at the Station, Lila York’s Celts and Continuum, and Merce Cunningham’s Split Sides and Fluid Canvas. His work in opera and theater includes a 37-year collaboration with director Peter Sellars, designing many world premieres in America and internationally. He often collaborates with The Wooden Floor dancers in Santa Ana, California.

BIOGRAPHIES

WITHIN THE GOLDEN HOUR©

PROGRAM NOTES by Cheryl A. Ossola

Choreographer Christopher Wheeldon looks at each new ballet as an opportunity to stretch himself artistically, and his wide-ranging works reflect that philosophy. His choreography, he says, embodies “a kind of synthesis between using the classical ballet technique, which I love, and finding other dance forms to inspire a new, interesting way of looking at a ballet step.” He produced a fine example of that kind of synthesis in creating Within the Golden Hour© for San Francisco Ballet’s New Works Festival in 2008. One of his best-loved works, this ballet has since been performed in venues worldwide.

Wheeldon’s eagerness to explore is apparent in his choreographic career, which includes film, opera, and Broadway (notably, his successful An American in Paris) in addition to his many ballets. Music is central to his creative process. “With each piece I’m very conscious of going through different musical choices,” he says. “What did I achieve with that previous work, and how does that inform what I’m doing next?” He finds inspiration in art and other choreographers’ works — and sometimes in his own. “Maybe there was something in a previous ballet [of mine] that didn’t work as a whole, but there’s an idea within it that I could use,” he says. “I use that as a starting point, and then it naturally takes a different course.”

Within the Golden Hour© is “like a series of small paintings or sketches that are inspired by the music,” Wheeldon says. Rather than choosing a single composition to work with, he compiled a score with six pieces for strings by Italian composer Ezio Bosso and the Andante movement from Antonio Vivaldi’s Violin Concerto in B-flat Major. Wheeldon describes the Bosso music as “not particularly complex, although some parts get rhythmically layered.” At times it’s haunting, at times playful; the Vivaldi is

delicately pensive. And all of the music creates a strong sense of place. “One part sounds really Celtic; we call it the ‘Hebrides pas de deux,’” he says. “It feels like two people in a big, expansive, barren but beautiful, poetic place, and they’re alone and there’s nothing around except for a little white cottage in the distance and a couple of moo-cows.” Another duet makes him think of “a Fellini-esque scene with the couple dancing around the Trevi Fountain,” he says. “And she’s in a purple polka-dot dress with heels and a big ’do.” Such imagery helped Wheeldon create what he describes as a “quirky” pas de deux, which samples from social dances like the waltz, tango, and Charleston. The duet flows with the melody or becomes fragmented, like the plucked violin strings we hear.

What Within the Golden Hour© shows clearly is how Wheeldon responds to different tracks in the music. He calls it “punctuating the choreographic rhythm in juxtaposition to what’s going on musically. It’s fun to go in and out of different aspects of the music, to go with the sweep of the melody and then make an unexpected turn and suddenly have the dancers make the underlying rhythm visual. If you follow the melody all the way through, you end up with a rather bland, two-dimensional representation of what you’re hearing.” In the end, he says, “dance is at its most successful when it’s making the music visual.”

WITHIN THE GOLDEN HOUR©

PRODUCTION CREDITSMusic: Ezio Bosso: The sky seen from the moon; Le Notti…; Of the Thunders; Dance of the tree; Worried; African skies. Antonio Vivaldi: Andante from Violin Concerto in B-flat major, RV 583. Costumes constructed by Tricorne, Inc., New York, New York. Scenic construction and painting by San Francisco Ballet Carpentry and Scenic Departments at the San Francisco Opera Scenic Studios.

San Francisco Ballet in Wheeldon’s Within the Golden Hour© // © Erik Tomasson38 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 39

VIOLIN ICordula MerksConcertmaster

Wenyi ShihAssociate Concertmaster**

Beni ShinoharaAssistant Concertmaster

Heidi WilcoxMia KimRobin HansenBrian LeeMariya BorozinaLev Rankov*Carla Picchi* Karen Shinozaki*Heeguen Song*

VIOLIN IIMarianne WagnerPrincipal

Craig ReissAssociate Principal

Rebecca JacksonAssistant Principal**

Patricia Van WinkleClifton FosterJeanelle Meyer**Katherine Button*Julie Kim*Minsun Choi*Jeremy Preston*

VIOLAYi ZhouPrincipal

Anna KrugerAssociate Principal

Joy FellowsAssistant Principal

Caroline LeePaul EhrlichElizabeth Prior*Katherine, Johnk*

CELLOEric SungPrincipal

Jonah KimAssociate Principal

Victor FierroAssistant Principal

Thalia MooreNora PirquetRuth Lane*Miriam Perkoff*

CONTRABASSSteve D’AmicoPrincipal

Shinji EshimaAssociate Principal

Jonathan LancelleAssistant Principal

Mark Drury

FLUTEBarbara ChaffePrincipal

Patricia Farrell*Julie McKenzie

PICCOLOBarbara ChaffeJulie McKenzie

OBOELaura GriffithsPrincipal

Marilyn Coyne

ENGLISH HORNMarilyn Coyne

CLARINETNatalie ParkerPrincipal

Andrew Sandwick

BASS CLARINETAndrew Sandwick

SAXOPHONEDale Wolford*David Henderson*Kevin Stewart*

BASSOONRufus OlivierPrincipal

Patrick Johnson-Whitty

HORNKevin RivardPrincipal

Keith Green

Brian McCartyAssociate Principal

William Klingelhoffer

TRUMPETAdam LuftmanPrincipal

Joseph Brown**John Pearson*

TROMBONEJeffrey BudinPrincipal

Hall Goff

BASS TROMBONEScott ThorntonPrincipal

TUBAPeter WahrhaftigPrincipal

TIMPANIJames GottPrincipal

PERCUSSIONDavid RosenthalPrincipal

Todd Manley*Peter Thielen*Tyler Mack*

HARPAnnabelle TaublPrincipal

*Extra Player**Season Substitute

Tracy DavisOrchestra Personnel Manager and Music Administrator

Matthew NaughtinMusic Librarian

San Francisco Ballet Orchestra

Martin West, Music Director and Principal ConductorDavid LaMarche, Guest ConductorMing Luke, Guest Conductor

For more than 40 years, the Grammy Award–winning San Francisco Ballet Orchestra has made the music that propels our movement. With a core group of 49 regular members that expands to 65 players for certain productions, the Orchestra’s repertory extends from classics such as Tchaikovsky’s Swan Lake and Nutcracker to the more abstract and contemporary of ballet and symphonic works. The Orchestra’s artistry has also been featured in orchestral performances, mostly recently at a special 40th anniversary concert held at Herbst Theatre in March 2016. Our musicians are as brilliant as individual artists as the orchestra is as an ensemble. Please visit sfballet.org/orchestra for photos of each of SF Ballet Orchestra’s musicians.

SF Ballet O

rchestra’s 40th Anniversary celebration // ©

Erik Tomasson

sfsymphony.org 415-864-6000

Concerts at Davies Symphony Hall. Programs, artists, and prices subject to change. *Subject to availability. Box Office Hours Mon–Fri 10am–6pm, Sat noon–6pm, Sun 2 hours prior to concerts Walk Up Grove Street between Van Ness and Franklin

APR 19–22

Andrés Orozco-Estrada Conducts Rachmaninoff’s Second SymphonyCelebrated conductor Andrés Orozco-Estrada takes center stage for a performance of Rachmnaninoff’s Second Symphony, a work beloved for its lush and gorgeous Adagio. Then, see Russian pianist Denis Kozhukhin take on Prokofiev’s fiendishly challenging Piano Concerto No. 2, a work he has performed worldwide to rave reviews.

APR 27–29

German Romanticism: Schumann and Strauss

Metropolitan Opera Principal Conductor Fabio Luisi leads an intense German program of Schumann and Strauss. Pianist Igor Levit, whose pianism is “intimate and intense...with moments of true magic” (Bachtrack) performs Schumann’s exhilarating Piano Concerto. Then, envision breathtaking Roman ruins and sweeping rural landscapes in Richard Strauss’ first tone poem, Aus Italien, inspired by the young composer’s trip to Italy.

Let Music Cast a Spell

$15*

TICKETS START AT

LEVIT

ORO

ZCO-EST

RADA

Inaugural Partner Official Airline

EAP full-page template.indd 1 2/15/17 9:29 AM

40 SAN FRANCISCO BALLET SFBALLET.ORG

San Francisco Ballet Staff HELGI TOMASSONARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER

GLENN MCCOYEXECUTIVE DIRECTOR

ARTISTIC

RICARDO BUSTAMANTE, Ballet Master & Assistant to the Artistic DirectorFELIPE DIAZ, BETSY ERICKSON, ANITA PACIOTTI, KATITA WALDO, Ballet MastersYURI POSSOKHOV, Choreographer in ResidenceCAROLINE GIESE, Artistic AdministratorALAN TAKATA-VILLAREAL, Logistics ManagerABBY MASTERS, Assistant to the Artistic Staff

OPERATIONS

DEBRA BERNARD, General ManagerLAUREN CHADWICK, Company ManagerJULIETTE LEBLANC, Production Analyst

PRODUCTION

CHRISTOPHER DENNIS, Production DirectorDANIEL THOMAS, Technical ManagerKATE SHARE, Manager of Wardrobe, Wig, Make-Up, and Costume ConstructionJIM FRENCH, Lighting SupervisorJANE GREEN, Production Stage ManagerJESSICA BARKER, Stage ManagerNIXON BRACISCO, Master CarpenterKELLY CORTER KELLY, Master ElectricianKENNETH M. RYAN, Master of PropertiesKEVIN KIRBY, Audio EngineerJOHN O’DONNELL, FlymanGEORGE ELVIN, Wardrobe ManagerPATTI FITZPATRICK, Head of Women’s WardrobeRICHARD BATTLE, Head of Hair and MakeupTHOMAS RICHARDS, Assistant Head of Hair and MakeupSHERRI LEBLANC, Company Shoe Administrator

MUSIC

MARTIN WEST, Music Director & Principal ConductorMUNGUNCHIMEG BURIAD, NATAL’YA FEYGINA, NINA PINZARRONE, Company PianistsTRACY DAVIS, Orchestra Personnel Manager & Music AdministratorMATTHEW NAUGHTIN, Music Librarian

ADMINISTRATION

CECELIA BEAM, Human Resources ManagerLAURA SIMPSON, Board Relations ManagerROCIO SALAZAR, Human Resources GeneralistKATHARINE CHAMBERS, Assistant to Senior Executive StaffJULIA NOTTEBOHM, Special Events Consultant

DEVELOPMENT

STUART CANNING, Director of DevelopmentJENNIFER MEWHA, Associate Director of DevelopmentFERMIN NASOL, Senior Manager, Capital and Principal GiftsELIZABETH LANI, Planned Giving ManagerJIM SOHM, Research ManagerEMILY MARKOE, Membership ManagerINGRID ROMAN, Special Events ManagerARI LIPSKY, Christensen Society ManagerSARAH WARNER, Major Gifts OfficerAMY DREW, Corporate Giving Officer & Interim Institutional Giving OfficerNICOLE LUGTU, Christensen Society OfficerHALEY O’NEIL, Individual Gifts AssociateRYAN ENGSTROM, Major Gifts AssociateCATHERINE DAVIS, Special Events AssociateASHLEY RITS, Development Database CoordinatorLYNN NOONAN, Principal Gifts Consultant

MARKETING & COMMUNICATIONS

MARY BETH SMITH, Director of Marketing & CommunicationsKYRA JABLONSKY, Associate Director, CommunicationsTHOMAS WEITZ, Associate Director, Digital StrategyMARY GOTO, Senior Manager, Marketing and SalesVALERIE MEGAS, Senior Manager, Retail OperationsAPRIL JOHNSTON, Marketing & Promotions ManagerNICHOLAS ASHBY, Web & Digital Platforms ManagerJAMES HOSKING, Video Producer/EditorERIK ALMLIE, Media Asset AdministratorOLIVIA RAMSAY, Social Media ProducerCAITLIN SIMS, Publications EditorMONICA CHENG, Graphic DesignerNANNETTE MICKLE, Group Sales RepresentativeRENA NISHIJIMA, Communications AssociateEMILY MUNOZ, Marketing Associate

TICKET SERVICES

BETSY LINDSEY, Associate Director, Ticket and Patron ServicesJENNIFER PETERIAN, Box Office Manager/ TreasurerMARK HOLLEMAN, Sales & Service SupervisorELENA RATTO, Patron Services SpecialistJOLE MENDOZA, Ticketing Database SpecialistDAVID CLARK, Box Office SupervisorMICHELLE HUGHES, JERICHO LINDSEY, PATRICIA PEARSON, CHERRYL USI, Ticket Services Associates

FINANCE

KIM ONDRECK CARIM, Interim Chief Financial OfficerNATALIE QUAN, ControllerVALERIE RUBAN, Accounting SupervisorNICOLE MARKOVICH, Senior AccountantANNETTE ORTEGA, Payroll ManagerMARIE MORROW-WRIGHT, Staff AccountantJACQUELYN LEE, Staff AccountantJENNIFER KOVACEVICH, Lean Ops Project Manager

FACILITIES

NATHAN BRITO, Facilities ManagerZACHARY HUFFAKER, Facilities SupervisorADRIAN RODRIGUEZ, Facilities CoordinatorTODD MARTIN, STANLEY WONG, Facilities AssistantsTAMARA DE LA CRUZ, NICOLE DRYSDALE, YANA VINCENT, ReceptionistsSENG SAECHAO, Weekend Facilities Assistant

INFORMATION TECHNOLOGY

MURRAY BOGNOVITZ, Director of Information TechnologySTACY DESIMINI, IT Operations & Project ManagerKAREN IRVIN, Application Administrator & Help Desk CoordinatorJOSH MARSHALL, Web AdministratorJIAPENG JIANG, IT Specialist

FRONT OF HOUSE

JAMYE DIVILA, House ManagerMARIALICE DOCKUS, Head UsherRODNEY ANDERSON, DANICA BURT, ANTHONY CANTELLO, LAURENT DELA CRUZ, MARTIN DIAS, STARSKY DIAS, JONATHAN DROGIN, CHIP HEATH, ELAINE KAWASAKI, EILEEN KEREMITSIS, RYSZARD KOPROWSKI, BILL LASCHUK, SHARON LEE, LENORE LONG, DOUG LUYENDYK, EVELYN MARTINEZ, LEONTYNE MBELE-MBONG, DALE NEDELCO, WAYNE NOEL, BETH NORRIS, JAN PADOVER, JULIE PECK,ROBERT REMPLE, BILL REPP, RILLA REYNOLDS, ROBYN SANDBERG, JOE SAVIN, KELLY SMITH, STEPHANIE SOMERSILLE, THERESA SUN, TOM TAFFEL, RICHARD WAGNER, STEVE WEISS, JOANNE WESTFALL, ELAINE YEE, Ushers

EDUCATION AND TRAINING

San Francisco Ballet School

HELGI TOMASSON, DirectorPATRICK ARMAND, Associate Director

School Faculty

PATRICK ARMANDKRISTI DECAMINADAKAREN GABAYYUKO KATSUMITINA LEBLANCJEFFREY LYONSRUBÉN MARTÍN CINTAS, Lee R. Crews Endowed Faculty MemberILONA MCHUGHPASCAL MOLATWENDY VAN DYCK, Trainee Program AssistantJAIME DIAZ, StrengtheningBRIAN FISHER, Contemporary DanceDANA GENSHAFT, Contemporary Dance and ConditioningHENRY BERG, ConditioningLEONID SHAGALOV, Character DanceJAMIE NARUSHCHEN, DANIEL SULLIVAN, MusicSOFIANE SYLVE, Principal Guest Faculty

School Pianists

JAMIE NARUSHCHEN, School Pianist Supervisor, Lee R. Crews Endowed PianistELLA BELILOVSKAYA, RITSUKO MICKY KUBO, DANIEL SULLIVAN, GALINA UMANSKAYA, BILLY WOLFE, School Pianists

Dance in Schools and Communities Teaching Artists

ALISA CLAYTONSAMMAY DIZONCYNTHIA PEPPERPHOENICIA PETTYJOHNJESSICA RECINOSJOTI SINGHGENOA SPERSKE MAURA WHELEHAN

Dance in Schools and Communities Accompanists

DAVID FRAZIEROMAR LEDEZMAZEKE NEALYWADE PETERSONBONGO SIDIBE

Education and Training Administration

ANDREA YANNONE, Director of Education and TrainingCHRISTINA GRAY RUTTER, Assistant Administrative DirectorJENNIE SCHOLICK, PH.D., Associate Director of Audience EngagementJASMINE YEP HUYNH, Manager of Youth Programs and Teacher SupportJENNIFER BAKANE, School Operations ManagerELIZABETH RODDY, School Programs CoordinatorTAI VOGEL, School Registrar and Summer Session CoordinatorCECELIA BEAM, Adult Education Seminar CoordinatorLAUREN CHERTUDI, Administrative Assistant, Education & TrainingNICOLE SIKORA, Education AssistantNAIMA MCQUEEN, Residence ManagerELIZABETH IAN, WILL REESE, Resident Assistants LESLIE DONOHUE, CHRIS FITZSIMONS, School Physical Therapists

COMPANY PHYSICIANS

RICHARD GIBBS, M.D. & ROWAN PAUL, MD, Supervising PhysiciansMICHAEL LESLIE, PT, Director, Dancer Wellness Center KRISTIN WINGFIELD, M.D., Primary Care Sports MedicineFREDERIC BOST, M.D., On-site OrthopedistPETER CALLANDER, M.D., KEITH DONATTO, M.D., JON DICKINSON, M.D., Orthopedic Advisors to the CompanyKARL SCHMETZ, Consulting Physical TherapistACTIVE CARE, LISA GIANNONE, Director, Off-site Physical Therapy &

Conditioning ClassesLEONARD STEIN, D.C., Chiropractic CareHENRY BERG, Rehabilitation Class Instructor KELSEY ANDERSON, Wellness Program Manager

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 service.

Four floorsof fabulous fabrics

since 1952.

PROGRAMS 06 & 07 SAN FRANCISCO BALLET 4342 SAN FRANCISCO BALLET SFBALLET.ORG

Calendar of 2017 Repertory Season Donor Events

We’ve designed a wonderful variety of events for our supporters during our 2017 Repertory Season. Listed at right are events through June for members of the Artistic Director’s Council (ADC), Chairman’s Council (CHM), Christensen Society (CS), The Jocelyn Vollmar Legacy Circle (VLC), and Friends of San Francisco Ballet. Christensen Society members and above will receive invitations to events that correspond with their performance dates. These events are marked with an asterisk (*). For more information, please visit our website at sfballet.org/donor-events, or contact Christensen Society Manager Ari Lipsky at alipsky@sfballet.org or 415 865 6635.

MARCHSUN MON TUE WED THU FRI SAT

311pm Open Dress Rehearsal (CON+)

8pm: 06

APRILSUN MON TUE WED THU FRI SAT

1

2pm/8pm: 06

2 3 4 55pm Pre-Curtain Dinner* (CHO+)

10pm CS Cast Party* (ASO+)

6 7 8

12:30pm Ballet History Lecture (CON+)

2pm: 06 7:30pm: 07 7:30pm: 06 8pm: 06 2pm/8pm: 07

9 10 11 12 13 14 15

7pm: 062pm: 07 7:30pm: 06 7:30pm: 06 7:30pm: 07 8pm: 07

16 17 18 19 20 215:30pm CS Studio Rehearsal (DAN+)

22

7:30pm: 07

23 246pm Trainee Performance (DAN+/VLC)

25 26 27 281pm Open Dress Rehearsal (SUP+)

2910:30pm CS Cast Party* (ASO+)

8pm: 08 2pm/8pm: 08

30

2pm: 08

MAYSUN MON TUE WED THU FRI SAT

16pm Dinner on Stage (ADC)

2 3 4 5 6

7:30pm: 08 7:30pm: 08 7:30pm: 08 2pm/8pm: 08

7 8 96pm Trainee Performance (DAN+/VLC)

10 11 12 13

2pm: 08

14 15 16 17 18 19 20

21 22 23 24 25 26 27

28 29 30 317:30pm Student Showcase Performance

JUNESUN MON TUE WED THU FRI SAT

16pm Student Showcase Performance and Dinner

27:30pm Student Showcase Performance

3

MEMBERSHIP LEVEL KEYADC – Artistic Director’s Council ($100,000+)CHM – Chairman’s Council ($15,000–$99,999)

CHRISTENSEN SOCIETYCHO – Choreographer’s Council ($7,500–$14,999)DAN – Dancer’s Council ($5,000–$7,499)ASO – Associate’s Council ($2,500–$4,999)

FRIENDS OF SF BALLETPAT – Patron ($1,000–$2,499)SUP – Supporter ($500–$999)CON – Contributor ($200–$499)

VLC – Jocelyn Vollmar Legacy Circle

PROGRAM 06Swan Lake

PROGRAM 07Trio Ghost in the Machine (World Premiere) Within the Golden Hour©

PROGRAM 08Cinderella©

AN INVITATION TO DANCE: SAN FRANCISCO BALLET SCHOOL STUDENT SHOWCASE

Event dates, times, and locations are subject to change.

Sponsor and Donor News

KPMG’S STEADFAST COMMITMENT

We are grateful to the audit, tax, and advisory services firm KPMG LLP for being a valued sponsor of San Francisco Ballet for more than 15 years. KPMG’s generous support of our Opening Night Gala over the past 10 seasons has helped ensure that this annual event is a spectacular launch to the Repertory Season and a successful fundraising event for our innovative programming and education activities. KPMG’s renewed sponsorship of An Invitation to Dance: San Francisco Ballet School Student Showcase will, once again, help make it possible for SF Ballet to offer $1 million in need- and merit-based scholarships so that we can train a diverse student body of talented young dancers, regardless of their financial station.

Debbie Messemer, Managing Partner of KPMG’s San Francisco market, has been an SF Ballet Trustee since 2009. She is a dedicated advocate for both SF Ballet and ballet as an art form. We appreciate her leadership and her steadfast commitment to fostering new work and training the next generation of ballet professionals.

“We are proud to support San Francisco Ballet, one of our city’s longstanding cultural treasures,” says Messemer. “Through our sponsorship, we are able to help ensure that ballet performances remain accessible to our clients, employees, and the community we serve.”

2015–16 SF Ballet School Trainees at the Student Showcase Dinner

THANKS TO THE WILLIAM AND FLORA HEWLETT FOUNDATION

The William and Flora Hewlett Foundation has supported San Francisco Ballet’s diverse and dynamic artistic and educational programming for nearly four decades. A nonpartisan, private charitable foundation established in 1966 by engineer and entrepreneur William Hewlett and his wife Flora with their eldest son Walter, the foundation today awards roughly $400 million per year in grants to a variety of charitable causes, including support for the performing arts in the San Francisco Bay Area, as well as other funding that strengthens communities across the region. The Hewlett Foundation’s Performing Arts Program makes grants to sustain artistic expression and encourage public engagement in the arts, to give students equal access to an education rich in the arts, and to support a thriving arts ecosystem by providing arts organizations with the resources they need to be most effective. We are grateful for their support over the years.

44 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 45

Sponsor and Donor News The Artists’ Reserve Fund Helps Dancers Invest in Their Futures

Bank of AmericaWe are proud to acknowledge Bank of America as the lead sponsor of San Francisco Ballet School this year. As a major corporate philanthropist and supporter of the arts in the Bay Area and around the world, Bank of America believes the arts matter, and sees the arts as a way to help people connect with each other and across cultures, educate and enrich societies, and help the economy thrive.

Says Robert G. Shaw, SF Ballet Trustee and Managing Director of Global Corporate & Investment Banking at Bank of America Merrill Lynch: “We are honored to partner with a cultural treasure such as SF Ballet, as part of our holistic approach to supporting economic drivers that contribute to the vitality and livability of our community.”

Freed of LondonSan Francisco Ballet School’s Summer Session attracts young ballet students, ages 12–18, from around the world to participate in the rigorous, multi-week training program in our studios. This unique opportunity offers intensive training, professional development, and the chance to explore the nuances of ballet as an art form to groups of intermediate and advanced/ pre-professional students.

To recruit the best talent, our SF Ballet School staff travels to ten cities across the United States and auditions more than 1,500 dancers for the Summer Session. The School’s National Audition Tour is generously sponsored by Freed of London, a leading designer and manufacturer of professional dance shoes. Freed of London has been the sponsor of the SF Ballet School Summer Session Audition Tour since 2004.

How do our dancers prepare for a career after the stage? Many of them receive financial support for education-related expenses from San Francisco Ballet, our patrons, and their own investments through programs like the Artists’ Reserve Fund. This Fund enables current and former Company members to pursue career transition goals while maintaining the rigorous schedule of rehearsals and performances required of a professional dancer.

Each season, dancers donate the salary of one performance on the Opera House stage and the organization matches their contributions. In addition, a number of contributions come from SF Ballet patrons. These funds are all added to a percentage of the existing invested Fund to create a pool of money for distribution each year. The funds are awarded annually to the dancers through a point system based primarily on tenure.

The Artists’ Reserve Fund has a champion in long-time SF Ballet Board Trustee and former dancer Jola Anderson, who studied with Eugene Loring and Merce Cunningham and went on to become a

dance major at UCLA. Anderson takes special pride in giving dancers the opportunity to plan for their futures without giving up the profession they love. “This wasn’t an option in my day and my choice to go to college ultimately limited my dancing career — now dancers can have the best of both worlds,” says Anderson.

Many of the Fund’s recipients choose to participate in local programs such as the Liberal Education for Arts Professionals (LEAP) program at St. Mary’s College, which allows them to pursue a liberal arts degree or explore different disciplines while providing flexible schedules and class locations.

“A dance career is short and it’s so important that dancers prepare for a life after dance,” says Anderson. “That’s what the Artists’ Reserve Fund offers — it’s an investment in their future.”

The Artists’ Reserve Fund Committee — comprised of Anderson, Company dancers Sarah Van Patten and Rebecca Rhodes, members of the SF Ballet staff and a representative of the dancers’ union (AGMA) — oversees the

application process each year. Over the past ten years, the Fund has given grants to an average of 23 dancers annually.

SF Ballet continues to build this fund, with this year’s Artist Reserve Fund performance on April 14, 2017. To contribute, you can donate online at sfballet.org/arf or by contacting Assistant to Senior Executive Staff Katharine Chambers at 415 865 6581.

Please note that while donations to the Artists’ Reserve Fund are fully tax-deductible, they do not count toward membership in the Friends of SF Ballet or the Christensen Society.

The dancers of SF Ballet would like to thank the following donors to the Artists’ Reserve Fund since July 2015:

Jola and John M. AndersonKristen A. AvansinoJacqueline and Christian P. ErdmanRoger W. GreenLloyd N. HarperDonald F. HoughtonMs. Yeuen KimMarie and Barry LipmanKatalin and Douglas G. LynnAlison and Michael MauzéLynn McGowinMr. Wallace MersereauEdward and Linda PlantMs. Ellen SandlerMr. Ian E. StockdaleMs. Karen StreicherArlene H. SullivanJudy C. SwansonBeatrice Wood

Did you know that fully half of SF Ballet’s annual budget is underwritten by thoughtful contributions from our dedicated audience? When you join Friends of San Francisco Ballet, individuals who support the Ballet through generous gifts to the Annual Fund, you will receive benefits designed to enrich your SF Ballet experience. Starting this Season, our Friends get closer than ever before. Watch a ballet come to life in an open dress rehearsal, get early access to purchase tickets for our most popular performances, and meet fellow donors and artists of the Company at events. Join us, won’t you?

BENEFITS MEM

BER

$7

5–$1

99

CO

NTR

IBU

TOR

$2

00

–$49

9

SUPP

OR

TER

$5

00

–$9

99

PATR

ON

$1

,00

0–$

2,4

99

NEW! Exclusive ticket access with Donor Flash Sales

Special pricing on Adult Education Programs

NEW! Annual donor newsletter

15% Discount at the SF Ballet Shop

Season Guide mailed to you

Priority access to Nutcracker and Repertory Season single tickets

Ballet history lecture

NEW! Open dress rehearsal 1 2 3

Company class observation and reception

Your name listed in an SF Ballet publication

NEW! One post-dress rehearsal reception

Orchestra rehearsal

Ben

efits

sub

ject

to c

hang

e

FRIENDS OF SF BALLET BENEFITS TEN-YEAR CHRISTENSEN SOCIETY HONOREES

Our loyal supporters are instrumental in helping us bring classic and contemporary ballet to life, one production at a time. Each year we honor donors who have been members of the Christensen Society for 10 consecutive years. The 2017 Season marks the 10th anniversary of the following Christensen Society members:

Ms. Gigi AnthonyEleonore Aslanian in memory of Edward AslanianMr. and Mrs. David W. BeachChristopher and Camille BentlyKaren S. BergmanClaire and Jared BobrowJosephine BrownbackAlice M. CorningMs. Phoebe CowlesJuanita and Manuel Del ArrozDr. Richard M. DelfsMs. Linda Jo FitzRichard and Elizabeth Fullerton Family FoundationPenny and Gregory GalloShelby and Frederick GansSally L. Glaser and David BowerMs. Doris GrimleyAlicia and Philip HammarskjoldMr. and Mrs. James C. KatzmanMs. Lisa A. KeithWilliam and Gretchen Kimball FundKevin King and Meridee Moore Howard and Siesel MaibachMarissa Mayer and Zachary BogueJennifer J. McCallMr. Glenn McCoyMr. James E. MilliganMelissa and Ritchie PostLarissa Roesch and Calder RoeschMr. and Mrs. David E. RosenkrantzDonald and Terry SarverMr. and Mrs. Gary J. ShapiroMrs. Harriet J. SimpsonMary Ann SomervilleSusanne StevensArlene H. SullivanMr. Tim C. Wu and Mr. Eric MurphyAnonymous (3)

We congratulate these donors and thank them for their steadfast support. We are pleased to give special recognition to donors who have been honored as 10-year Christensen Society Honorees in our program books. Their names are followed by a plus sign (+) in the Chairman’s Council and Christensen Society sections.

SALUTING OUR SCHOOL SPONSORS

LEAP participants and graduates with SF Ballet Board Trustee Jola Anderson // © Erik Tomasson46 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 47

Artistic Director’s Council

San Francisco Ballet gratefully acknowledges the members of the Artistic Director’s Council. Their generous annual support of $100,000 or more has been instrumental to the success of SF Ballet, 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 fnasol@sfballet.org.

GRAND BENEFACTORS GIFTS OF $250,000 AND ABOVE

Mr. Richard C. Barker

Bently Foundation

Grants for the Arts

The Hellman Family

Lucy Jewett

Mr. and Mrs. James D. Marver

Mr. and Mrs. John S. Osterweis

E. L. Wiegand Foundation

ARTISTIC DIRECTOR’S COUNCIL GIFTS OF $100,000–$249,999

Anne T. and Robert M. Bass

Fang and Gary Bridge

Ms. Laura Clifford

Kate and Bill Duhamel

First Republic Bank

Gaia Fund

Shelby and Frederick Gans

The Hearst Foundations

The William and Flora Hewlett Foundation

Donald F. Houghton

George F. Jewett Foundation

Koret Foundation

David and Kelsey Lamond

Marie and Barry Lipman

Alison and Michael Mauzé

The Bernard Osher Foundation

Osterweis Capital Management

Yurie and Carl Pascarella

Arthur and Toni Rembe Rock

The Seiger Family Foundation

Denise Littlefield Sobel

David H. Spencer

The Swanson Foundation

Judy C. Swanson

Diane B. Wilsey

Miles Archer Woodlief

Great Benefactors

Our most loyal donors are dedicated to supporting exquisite art and also understand that a contribution to San Francisco Ballet is an investment in the cultural life of the Bay Area. Our growth and evolution as a company and school is due in large part to the steadfast and generous support of patrons in the Bay Area and beyond. In 2005, we created the honor of Great Benefactor to recognize donors whose cumulative giving to SF Ballet is $1 million or more. We are pleased to welcome Randee Seiger as our newest Great Benefactor.

American Airlines

Estate of Helen Anderton

AT&T

Bank of America Foundation

Richard C. Barker

Bingham McCutchen LLP

BRAVO

Fang and Gary Bridge

Jennifer Caldwell and John H. N. Fisher

California Arts Council

The State of California

Estate of Lewis and Emily Callaghan

Mrs. Daniel H. Case III

Chevron Corporation

Deloitte

Susan and John Diekman

Suzy Kellems Dominik

Rudolph W. Driscoll

Sonia H. Evers

First Republic Bank

Ford Foundation

Diana Stark and J. Stuart Francis

Estate of Georg L. Frierson

Gaia Fund

Stephen and Margaret Gill Family Foundation

Richard and Rhoda Goldman Fund

Grants for the Arts

Estate of Richard B. Gump

Evelyn & Walter Haas, Jr. Fund

Mimi Haas

Colleen and Robert D. Haas

Walter & Elise Haas Fund

Estate of Katharine Hanrahan

Dr. and Mrs. Jeffrey P. Hays

William Randolph Hearst Foundation

The Hellman Foundation

The Hellman Family

The Herbert Family

William and Flora Hewlett Foundation

The Edward E. Hills Fund

Donald F. Houghton

Estate of Dora Donner Ide

The James Irvine Foundation

The William G. Irwin Charity Foundation

G. William Jewell

George F. Jewett Foundation

George F. Jewett, Jr. 1965 Trust

Lucy and Fritz Jewett

Estate of Mildred Johnson

JPMorgan Chase & Co.

Maurice Kanbar

Dr. and Mrs. Jerome Ormond Kirschbaum

Diana Dollar Knowles

Estate of Diana Dollar Knowles

Koret Foundation

Mary Jo and Dick Kovacevich

The Charles Henry Leach, II Foundation, Jennifer Jordan McCall, Foundation Trustee

Catherine Lego

Paul Lego

Marie and Barry Lipman

Mrs. Jeannik Méquet Littlefield

The Marver Family

Stephanie and James Marver

Alison and Michael Mauzé

Andrew W. Mellon Foundation

Nicola Miner and Robert Mailer Anderson

National Endowment for the Arts

The Bernard Osher Foundation

John Osterweis and Barbara Ravizza

Pacific Gas and Electric Company

Yurie and Carl Pascarella

The Thomas J. and Gerd Perkins Foundation

Pillsbury Winthrop Shaw Pittman LLP

Kenneth Rainin

Mr. George R. Roberts

Arthur and Toni Rembe Rock

Bob Ross

Gordon Russell

San Francisco Ballet Auxiliary

The San Francisco Foundation

Kathleen Scutchfield

Randee Seiger

O.J. and Gary Shansby

Shubert Foundation, Inc.

The Smelick Family

Estate of Natalie H. Stotz

The Swanson Foundation

Richard J. Thalheimer

Ms. Susan A. Van Wagner

Visa Inc.

Wallis Foundation

Phyllis C. Wattis

Wells Fargo

The E. L. Wiegand Foundation

Diane B. Wilsey

Akiko Yamazaki and Jerry Yang

The Zellerbach Family

Celebrate your love of ballet by becoming a Friend of SF Ballet. Loyal supporters like you ensure the Ballet will be around for future generations to enjoy.

JOIN FRIENDS OF SAN FRANCISCO BALLET

Yuan

Yua

n Ta

n in

Tom

asso

n’s

Swan

Lak

e //

© E

rik T

omas

son

JOIN US, WON’T YOU? Visit our website at sfballet.org/donate or call 415 865 6628.

48 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 49

2016–2017 Season Sponsors2016 NUTCRACKER

Lead SponsorsThe Herbert FamilyThe Swanson FoundationSponsorsYurie and Carl PascarellaKathleen ScutchfieldThe Smelick FamilyOfficial Airline of NutcrackerUnited Airlines

2017 REPERTORY SEASON

Lead SponsorStephanie and James MarverSaturday Night Subscription SeriesLucy and Fritz Jewett Saturday Night Series

PROGRAM 01

Haffner SymphonyLEAD SPONSORDonald F. Houghton

MAJOR SPONSORKathleen Scutchfield

SPONSORAlmaden Press

Fragile Vessels | World PremiereLEAD SPONSORGaia Fund

SPONSOROsher New Work Fund*

In the Countenance of KingsSPONSORSan Francisco Ballet Allegro Circle

PROGRAM 02

Seven SonatasSPONSORKathleen Grant, M.D. and Thomas Jackson, M.D.

Optimistic Tragedy | World PremiereLEAD SPONSORSMr. Richard C. BarkerYurie and Carl PascarellaMiles Archer Woodlief

SPONSORTeRoller Fund for New Productions*

Pas/Parts 2016SPONSORPhyllis C. Wattis Fund*

PROGRAM 03

FrankensteinLEAD SPONSORSBently FoundationThe Hellman Family

COSTUME SPONSORE. L. Wiegand Foundation

SPONSORSMs. Laura CliffordStephanie and James Marver Anonymous

with additional support from Elisabeth Pang FullertonMarie and Barry LipmanKarl and Holly Peterson

PROGRAM 04

Stravinsky Violin ConcertoSPONSORMs. Jeri Lynn Johnson

Prodigal SonMAJOR SPONSORSue and John Diekman

DiamondsSPONSORSMichel and Mekhala OltramareMichael and Mary SchuhBRAVO

PROGRAM 05PROGRAM SPONSORThe Bernard Osher Foundation

FusionMAJOR SPONSORSAthena and Timothy BlackburnJennifer and Steven Walske

SPONSORKacie and Michael Renc

Salome | World PremiereLEAD SPONSORDenise Littlefield Sobel

SPONSOROsher New Work Fund*

Fearful SymmetriesMAJOR SPONSORSKaren S. BergmanCharles and Kara Roell

SPONSORSBrenda and Alexander LeffLarissa Roesch and Calder Roesch

PROGRAM 06

Swan LakeLEAD SPONSORDiane B. Wilsey

MAJOR SPONSORSSonia H. EversStephen and Margaret Gill Family FoundationMarissa Mayer and Zachary Bogue

SPONSORSKatherine and Gregg CrawfordJoseph and Marianne GeageaRichard Thalheimer Family

PROGRAM 07

TrioMAJOR SPONSORMrs. Henry I. Prien

Ghost in the Machine | World PremiereLEAD SPONSORSFang and Gary BridgeShelby and Frederick GansDavid and Kelsey LamondThe Seiger Family Foundation

SPONSORByron R. Meyer Choreographers Fund*

Within the Golden Hour©

LEAD SPONSORSChaomei Chen and Yu WuMarie and Barry Lipman

MAJOR SPONSORSHannah and Kevin ComolliCatherine and Mark Slavonia

SPONSORSO.J. and Gary ShansbyENCORE!

PROGRAM 08

Cinderella©

LEAD SPONSORSAlison and Michael MauzéSan Francisco Ballet Auxiliary

MAJOR SPONSORSInnovation Global CapitalNancy A. Kukacka

SPONSORSMs. Laura McCabe-EdgarBarbara and Stephan Vermut

2017 OPENING NIGHT GALAPRESENTING SPONSOROsterweis Capital Management

GRAND BENEFACTOR DINNER SPONSORTiffany & Co.

BENEFACTOR DINNER SPONSORKPMG

PATRON DINNER SPONSORJPMorgan Chase & Co.

AFTER PARTY SPONSORLa Perla

COCKTAIL RECEPTION SPONSORGibson, Dunn & Crutcher LLP

INVITATION SPONSORPacific Union–Christie’s International Real Estate

*Endowed Fund of the San Francisco Ballet Endowment Foundation

GENERAL

MEDIA

EDUCATION AND TRAINING

San Francisco Ballet’s performances are made possible in part by grants from Grants for the Arts, The William and Flora Hewlett Foundation, and the National Endowment for the Arts.

Nutcracker Media Sponsors Repertory Season Media Sponsors Swan Lake Media Sponsor

Made for SF Ballet Media Sponsor

Lead Sponsors of San Francisco Ballet’s Education Programs

Additional support is provided by Major Sponsor Kaiser Permanente 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.

Lead Sponsor of San Francisco Ballet School

TOURINGFestival Napa Valley, Napa, CA | July 2016 The Music Center, Los Angeles, CA | October 2016 The Kennedy Center, Washington, DC | October 2016

The following funds of the San Francisco Ballet Endowment Foundation provide permanent support for touring by San Francisco Ballet:

LEAD UNDERWRITERSOsher Touring Fund G. William Jewell Touring Fund The Hellman Family Touring Fund

MAJOR UNDERWRITERSFrannie 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

UNDERWRITERSDavidson Bidwell-Waite and Edwin A. Waite Touring Fund Glenn McCoy Touring Fund Vinie and J. Sanford Miller Touring Fund Phyllis W. Nelson Touring Fund Anne and Michelle Shonk Touring Fund

THE HEARST FOUNDATIONSPrincipal Sponsor of San Francisco Ballet’s Education Programs

50 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 51

The Chairman’s Council

PRODUCER'S COUNCIL GIFTS OF $75,000–$99,999Chaomei Chen and Yu WuBeth and Brian Grossman

PRESENTER’S COUNCIL GIFTS OF $50,000–$74,999Rosemary B. Baker+Athena and Timothy Blackburn+Grady and Amy* BurnettHannah and Kevin ComolliDavid and Vicki Cox+Sue and John Diekman+Mrs. Suzy Kellems Dominik*+Sonia H. Evers+Mr. and Mrs.* Greg FlynnRichard and Elizabeth Fullerton Family Foundation+Margaret and Stephen Gill+Cecilia and Jim Herbert+Mr. and Mrs. James C. Katzman+Mary Jo and Dick Kovacevich+Nancy A. KukackaDr. and Mrs. Stephen Leavitt in honor of John Osterweis and Christine RussellIrv H. Lichtenwald and Stephen R. Ripple+Christa and Mark LopezMarissa Mayer and Zachary Bogue+Mr. and Mrs. Kurt MobleyMrs. Henry I. Prien+Mr. George R. Roberts+Joan E. Roebuck+Charles and Kara RoellKathleen Scutchfield+Catherine and Mark SlavoniaJoyce L. Stupski+Mr. Richard J. Thalheimer+Jennifer and Steven Walske

SPONSOR’S COUNCIL GIFTS OF $25,000–$49,999John and Gioia Arrillaga+Courtney Benoist and Jason M. Fish*+Karen S. Bergman+Ms. Eliza M. Brown+Stacey B. Case*+Mr. and Mrs. Scott ConnorsKatherine and Gregg Crawford+Dana and Robert Emery+Carol Emory and The Wingate Foundation+Jacqueline* and Christian P. Erdman+Diana Stark and J. Stuart Francis+Joseph and Marianne GeageaDrs. Richard D. and Patricia GibbsTeri and Andy Goodman+Kathleen Grant, M.D. and Thomas Jackson, M.D.+Thomas E. Horn+Mr. Hiro IwanagaMs. Jeri Lynn Johnson+Christine and Pierre Lamond+Brenda and Alexander LeffPeter and Melanie MaierMs. Laura McCabe-EdgarAlexander R. Mehran*+Mr. James E. Milligan*+Michel and Mekhala OltramareKarl and Holly PetersonKacie and Michael RencMr. and Mrs. Edward Roach+Larissa Roesch and Calder Roesch+Mr. Gordon Russell and Dr. Bettina McAdoo+Michael and Mary Schuh+

O.J.* and Gary Shansby+Marc Sinykin and Kevin OsinskiTom Steyer and Kat Taylor+Mr. and Mrs. William TruscottMs. Susan A. Van Wagner+Barbara and Stephan VermutDr. Jan and Mr. Jonathan Zakin+Anonymous (2)

CHAIRMAN’S COUNCIL GIFTS OF $15,000–$24,999Brenton and Lysbeth Warren Anderson+Ms. Susan Anderson-NorbyEleonore Aslanian+ in memory of Edward AslanianDr. Margaret Bates and Scott Johnson+Ms. Susan Blake+Bruce Braden+Rachel Brass and Richard FosterRon and Susan Briggs+Mr. John G. Capo+Paula and Bandel CaranoJ. and J. ChangRosalyn Chen ChavezMr. and Mrs. Christopher CohanRobert and Laura CoryDr. and Mrs. Jordan Deschamps-BralyMr. Josh Elkes and Ms. Rachel HappPaula M. Elmore*Lynn Feintech and Tony Bernhardt+Randi and Bob FisherMrs. Mortimer Fleishhacker+Tim and Amanda GarryJames C. Gries+Brian and Elizaveta GustafsonMr. Isaac HallBrian and Rene Hollins+James C. Hormel and Michael P. Nguyen+Mr. and Mrs. Terry HoulihanJohn G. Kerns*+William and Gretchen Kimball Fund+Patrice and Walther LovatoMs. Susan MarschTimothy Marten, M.D.+Mr. Gregg MattnerJustin T. McBaineJane and Roger McCarthyStewart McDowell Brady and Philip BradyNion T. McEvoyMs. Jean A. McIntyreMary Mewha*Mr. Ronald W. Miller+Mrs. Stuart G. Moldaw+Mr. and Mrs. Robert L. Newman+Mr. David Oldroyd and Mr. Ronnie GenottiRoland G. Ortgies and Carmela C. Anderson-Ortgies+Mr. James Parsons and Ms. Andrea HongMr. and Mrs. Norman C. PeaseAlex & Maria RaitzDave and Judy Redo+Glenn H. Reid and Frank S. Lanier+Christine Sherry and Lawson Fisher+Mr. and Mrs. Robert M. Smelick+Michael and Susanna SteinbergAlan and Patricia Tai+Adam J. ThalerMr. and Mrs. William R. Timken+Helgi and Marlene TomassonMs. Patricia WyrodDiane and Howard Zack+Anonymous

The Chairman’s Council brings together a like-minded community of business leaders and philanthropists who share the goal of bringing world-class ballet to a world-class city. San Francisco Ballet gratefully acknowledges the generous support of Chairman’s Council members, who contributed gifts of $15,000 or more to the annual fund as of February 22, 2017. 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 Sarah Warner at swarner@sfballet.org 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 are followed by a plus sign (+) in this section. Former SF Ballet Trustees and Associate Trustees are noted with an asterisk (*).

The Christensen Society

The Christensen Society, named for the three brothers whose artistic vision pioneered San Francisco Ballet, offers a foundational connection to the heritage of the Company. Christensen Society member donations enable SF Ballet to underwrite season productions, acquire contemporary and classical works for our repertory, conduct national and international tours, train hundreds of young dancers at the San Francisco Ballet School, and share the love of dance with underserved children and families throughout the Bay Area.

San Francisco Ballet gratefully acknowledges the generous support of Christensen Society members, who contributed gifts of $2,500 to $14,999 to the annual fund as of February 22, 2017. For more information about the Christensen Society, please contact Christensen Society Manager Ari Lipsky at alipsky@sfballet.org 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 are followed by a plus sign (+) in this section. Former SF Ballet Trustees and Associate Trustees are noted with an asterisk (*).

CHOREOGRAPHER’S COUNCIL GIFTS OF $7,500–$14,999Joseph and BrookeKristen A. Avansino+Chris and Janet BajorekMr.* and Mrs. Joachim Bechtle+Claire and Jared Bobrow+Mr. and Mrs.* William S. BrandenburgKelly and Samuel* Bronfman IIMr. and Mrs. Kent F. BrooksMs. Carolyn ChandlerDrs. Valerie and Devron CharAntoinette Chatton+Ms. Karen K. Christensen+Jack and Gloria ClumeckMr. and Mrs. Sol CoffinoDr. Charles Connor+Ms. Phyllis Cook+Michele Beigel Corash and Laurence Corash+Jill DalyJuanita and Manuel Del ArrozMr. and Mrs. Kevan Del GrandeMs. Paulette Doudell+Mr. Frank J. Espina and Mrs. Andrea Valo-EspinaBuck Farmer and Leida SchoggenMr. and Mrs. John L. Field+Doris Fisher+Louella C. FungMs. Sally GarbarinoJohn and Marcia GoldmanJames K. and Helen L. Goodwine+Mary and Nicholas Graves+Ann M. Griffiths+Dr. Nahum GuzikAlicia* and Philip Hammarskjold+Mr. and Mrs. David M. Haskin+Mr. and Mrs. A. Grant Heidrich III+Mr. Kenneth HitzMs. Kathryn HuberMs. Kimberly M. HughesRobert G. Hulteng+Mr. and Mrs. Richard JasenDana and Larry KlameckiMs. Micki KlearmanLinda and Robert Klett+Mr. and Mrs. Mark KosticArlene and Steve Krieger+Maja KristinCaptain Witold Klimenko and Dr. Darlene Lanka-Klimenko+Mark and Debra Leslie+Mark and Lori Litwin+Carol and Hal Louchheim+Mrs. Rhondalee MahendrooLori and David F. Marquardt+Dr. Jack McElroy and Dr. Mary Ann Skidmore+Mr. and Mrs. John A. McQuownDr. Maya MeuxMs. Margaret MitchellMarta L. Morando+Michael Moritz and Harriet Heyman

Manfred K. Mundelius+Miriam Sedman and Ralph NyffeneggerMr. and Mrs. Michael O’SullivanMelanie and Rob Pedrick+Beth Price+Leslie and Nick Podell+Mr. and Mrs. Neal I. PowersMegan RayMr. and Mrs. Fredric H. RobertsJulian RobertsonMr. N. D’Arcy Roche and Mrs. Stephanie Twomey RocheMrs. Avé M. Seltsam and Mr. James D. Seltsam, Jr.Kamran and Helena Shamsavari+Mr. and Ms. Robert ShawMr. and Mrs. Roderick W. ShepardDr. and Mrs. Stephen Sherwin+Anne and Michelle Shonk+The Honorable and Mrs. George P. Shultz+Ms. Cherida Collins Smith+Mr. and Mrs. George H. SollmanSusanne Stevens+The Streets Family+Mrs. Dwight V. Strong+Arlene H. Sullivan*+Mr. and Mrs. Charles V. Thornton+Drs. Oldrich and Silva Vasicek+Mrs. and Mr. Joanne K. VidinskyThe Watkins Family+Mr. Tim Westergren and Ms. Smita SinghHelena and William WheelerCynthia and Edgar Whipple+Mr. Tim C. Wu and Mr. Eric Murphy+Kenneth and Anna Zankel, The GroveAnonymous (4)

DANCER’S COUNCIL GIFTS OF $5,000–$7,499Ms. Diane K. AaronMr. and Mrs. Tarang AminJudy and David AndersonMr. Scott Anthony and Ms. Christine DeSanzeMr. and Mrs. Greer Arthur+Mr. and Mrs. Hiroki AsaiMr. and Mrs. Bartley B. BaerDr. Thomas and Julie BallardMs. Deborah Taylor BarreraMr. Charles BarrettJeanne and William BarulichValli Benesch and Bob Tandler Philanthropic FundLydia and Steven BergmanDavidson Bidwell-Waite and Edwin A. Waite+Mrs. Jan BirenbaumMr. Charles Alden Black, Jr. and Mr. C. Grisham, Jr.Bon Air CenterMr. and Mrs. Ronald BorelliDr. Thomas and Janice Boyce+

Dr. Odelia BraunCynthia and Fred Brinkmann+Ms. Barbara Brown+James R. and Melinda M. BrownPeggy and Donald Burns+Kelli and Steve Burrill+Dr. Paula CampbellMr. and Mrs. Donald Chaiken+Dr. Annie Chang and Prof. Frederik MooiRobert Clegg*+Ms. Robin CollinsMs. Phoebe Cowles+Mary B. Cranston*+Ms. Nancy CurtissMr. and Mrs. James A. DavidsonMs. Bonnie De ClarkMs. Carole A. DemskyEarl Diskin+Mr. and Mrs. Theodore S. Dobos+Mr. and Mrs. David Dossetter+Robert and Judith Duffy+Samantha DuVall and Darren BechtelDiane and Joseph Ehrman III+Douglas and Barbara* Engmann+Mr.* and Mrs. Irwin Federman+Brent and Sandra FeryMs. Katherine M. Fines and Mr. Henry Heines+Mr. and Mrs. David Fleishhacker+Mr. Dennis N. Fluet+Camille and Sean Flynn+Mr. Douglas FrantzDr. Kim Fullerton-NelsonMarilyn & Robert Funari Family FoundationSally L. Glaser and David Bower+Mrs. Vincent GoldeDonald W. and Patricia L. GreenWilliam J. GregoryLinda GroahMr. and Mrs. John and Lucie HallMs. Claudia HardinDr. Birt HarveyJoan and Alan HenricksMs. Laura Miller and Mr. Matthew HeroldMr. and Mrs. John S. HochMr. and Mrs. Christopher HollenbeckKathryn HolmesSusan and Lyman HurdMs. Andrea JacobyMrs. Barbara JohnsonMr. Laurence Jurdem and Ms. Jorie WatermanBruce and Dasa Katz, Katz Family Foundation+Mr. and Mrs. Jim KautzMs. Lisa A. Keith+Ms. Linda KurtzMs. Gladys KwongMr. and Mrs. Jude Laspa+Laube Family FoundationMs. Betsy A. Linder+Mr. and Mrs. Allen LuniewskiMr. and Mrs. Laurence R. LyonsMr. Michael ManningMr. Patrick McCabe

52 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 53

Jennifer J. McCall+Joan and Robert McGrath+Mr. Wallace MersereauFred A. Middleton+Mrs. Toni R. MillerMrs. Janet Morris+Ms. Alexandra Moses+Mr. Andrew MyrickMs. Donna NeffPeggy and Willis NewtonMs. Carla Oakley and Mr. Kevin McCarthyMr. Richard OppenheimerMrs. Alexandra OttesenDennis Otto and Robert MeadowsMs. Mindy OwenMs. Elizabeth A. PeacePatricia Sanderson PortMr. Gordon L. Radley+Ursula RalphReach-A-Star FoundationDr. and Mrs. Robert E. Richardson+Mr. and Mrs. Sanford R. Robertson+Ms. Marianne B. Robison+Ms. Patricia Rock and Mr. John FetzerMs. Susan Rosin and Mr. Brian BockMr. and Mrs. Mark J. Ryan+Dorothy Saxe+Mr. Michael Scagliotti and Mrs. Miya R. PeardKathleen SchieboldMrs. Michelle D. SmithMrs. Linda SnyderThe Spero FamilyMr. and Mrs. Mathew Spolin+Mr. Matthew StepkaLisa J. Stern-Hazlewood+Ms. Fran A. Streets+Maureen and Craig SullivanMr. and Mrs. Jim Swartz+Darian and Rick Swig+Roselyne C. Swig*+Ms. Trecia Knapp and Mr. Bruno TapolskyMrs. Bente Tellefsen+Ms. Jody K. ThelanderMr. and Mrs. William L. ThorntonMr. Harry Tierney+Mr. and Mrs. Edward TortoriciMr. and Mrs. Thomas Tuttle+Janet Sassoon-Upton and John R. Upton, Jr.+Paul A. ViolichMs. Susan WarbleEmily and Bob WardenDaniel and Marie WelchMr. and Mrs. Wallace Wertsch+Karen and Stephen Wiel+Marilyn WolperMr. and Mrs. Michael WoodallTravis and Jim Wright+Dr. Keith R. Yamamoto+Sharon and Robert YoergAnonymous (5)

ASSOCIATE’S COUNCIL GIFTS OF $2,500–$4,999James Abrams and Thomas ChiangMichael C. Abramson+Norman Abramson and David BeeryMr. Amir AdibiMolly and Stewart Agras+Ms. Kirsti Aho and Mr. Dale UnderwoodMr. Bruce Albert and Dr. Chady F. Wonson+Lisa and Maria AlvarezSig and Susan AndermanMrs. Diane E. AndersonJola and John M. Anderson+Mr. and Mrs. Jon T. AndersonDr. and Mrs. Joseph S. Andresen+Ms. Gigi Anthony+Asmus FamilyMs. Corine AssoulineMr. Stephen A. Bansak III

Mr. Stephen J. BarberMr. Michael BarrientosKaren BartholomewMarie-José and Kent Baum+Mr. and Mrs. David W. Beach+Mr. and Mrs. Gene BeckerDr. George BeckerMs. Lydia BeebeMs. Desa C. BelyeaMr. Carroll BenterChristopher and Camille Bently+Miss Carol L. BenzMrs. LaVerne BeresMs. Catherine BergstromMr. and Mrs. Andrew and Nina BermanMs. Sandra Moore BerreyTom and Sandy BertelsenMr. Phil BettensArthur and Roslyn BienenstockRADM and Mrs. John W. Bitoff+Amos and Carla BlackmonMs. Martha E. BlackwellMs. Phyllis BlairMr. Noel T. BlosMs. Janet M. BollierMr. William BonvilleDr. Stephen C. BornMs. Carolyn J. and Mr. David W. BradyGermaine Brennan Foundation+Ms. Marilyn BrennanGordon Brody and Beatrice BienaimeCatherine Brown and Gerald GwathneyEd and Carole Brown+Mrs. Kathleen M. Brown*Josephine Brownback+Katie BudgeBetty C. Bullock and Robert MurrayMr. and Mrs. Thomas H. BurkhartJulie and David BurnsMr. and Mrs. Adrian ByramMrs. John Callander+Libi Cape+John and Carol Carlson+Damian S. CarmichaelMs. Linda CarsonDr. Heidi H. CaryDr. and Mrs. George Cassady+Mr. and Mrs. Robert CauthornJon B. Chaney+Mr. Marvin CharneyMr. Philip ChouMr. Paul CliffordDouglas Clough and Erin UesugiMs. Annelle CluteMs. Margaret CoblentzSusan and Mitchell Cohen+Ms. Claudia Coleman+Richard and Sylvia Condon+Jane A. CookMr. Thomas J. Cooney+Alice M. CorningColette V.A. CornishJoan and Victor CorsigliaMs. Sandi Covell+Ron and Shahla Cowan+Ms. Nora C. CreganMs. Lilly CreightonMs. Jennifer CrutchfieldMrs. Mary A. Culp+Juliet and Roggie Dankmeyer+Dr. Stephen J. DankoMs. Susan J. DavenportMr. Dan DaviesDr. and Mrs. R.L. Davis+Mr. Thomas L. Davis and Mrs. Marden N. Plant+Dr. Richard M. Delfs+Marvin Dennis+Julie Desloge and George A. NewhallMr. and Mrs. William H. Draper IIIMichael E. Dreyer and Harry B. UgolMr. Alan S. Driscoll

Mrs. Jennifer M. DuarteMr. Fritz EberlyAnita C. EblëDr. Robert Elfont and Ms. V’Anne SingletonMr. Greg EvansMrs. Mickey EvansRev. Richard FabianTawna and John Farmer+Mr. Robert S. Fisher*+Mr. William E. Fisher+Ms. Linda Jo Fitz+Mr. Thomas W. FlynnMs. Mayhill FowlerMr. and Mrs. Roy A. Francies JrMr. David B. Franklin and Ruedi F. ThoeniMs. Baerbel FreytagDr. and Mrs. A. W. FrickeMr. Ian FriedlandMr. Markus FromherzMs. Ellen FujikawaMrs. Ayumi FunakiPenny and Gregory Gallo+Ms. Mary GalloMs. Jane L. GazzolaNora L. Gibson and William L. HudsonMs. Joy GimSandra and Yuen GinNora GoldschlagerDrs. Meryl Gordon and Robert SchermerPhillip and Philippa Newfield Gordon+Ms. Shelley GordonMr. James Gosling+Mr. Michael GradyRichard L. Grant and James L. Miller+Ms. Joan GreenJudy and Josh GreenNonie H. Greene and Todd Werby+Mrs. Robert M. GreenhoodMr. and Mrs. Colin GreensponMs. Doris Grimley+Claude and Nina Gruen+Duncan and Jeanie GurleyMimi Haas+Stephen Halprin+Jill Hamer+Ms. Maria Hilakos HankeAlexander and Catherine Hargrave+Sara and Catherine HarkinsMs. Lori HarmonMr. and Mrs. Joseph HarrisDr. Elizabeth A. HarrisonMr. Christoph HartmannMichael and Julie HawkinsMr. and Mrs.* Kenneth HechtJohn F. Heil+Miranda Heller and Mark Salkind+Troy and Alysia HelmingDr. and Mrs. I. C. Henderson+Ms. Mary HermanMs. Kristine T. Hernandez and Mr. Michael R. GlaserMrs. Cynthia HerseyLinda Rae HickeyVirginia Hind HodgsonMr. Michael HoffmanHank J. Holland*Sunny Holland and Alan Pryor+Ms. Carol Ann HolleyJohn and Gina HookDr. Ray Hsu and Dr. Joanna LinDr. Serena HuMs. Marie L. HurabiellMs. Margaret HutchinsMr. and Mrs. Ronald W. HuttonMs. Karen J. IrvinMs. Giovanna Jackson*Jackson Family+Dennis and Paula JaffeGuyton Jinkerson+Ms. Gayle JohnsonMr. Todd Jolly and Ms. Judith Murio

The Christensen SocietyDebra and Blake JorgensenMr. Peter JoshuaMr. Campbell C. Judge and Ms. Kim EllisMs. Roberta KamedaMs. Daru H. Kawalkowski+Mr. Kris KazaksRev. Keenan C. KelseyDrs. Douglas and Carol KerrMs. Kathryn KerseyMs. Jennifer H. KilpatrickKevin King and Meridee Moore+Dr. Robert S. KingMrs. Jerome Ormond Kirschbaum+Ms. Nancy KittleMr. and Mrs. Alan F. KleinMr. Harold KlingspornMs. Patricia D. KnightMs. Suzanne Knott and Mr. Tom RoseMr. and Mrs. Mark S. KoenigMr. and Mrs. Martin M. KoffelHal and Iris Korol+Reiko and Yasunobu KyogokuMrs. Carla L. LabatSharon Lambert and Charles Cohen+Mr. Bryan Lamkin and Ms. Arianna CarughiPatricia W. LeicherPatricia Lekas and John Wentz+Mr. and Mrs. Christopher E. LenzoMr. and Mrs. Edward M. LeonardMr. and Mrs. Mark R. Lepper+Mrs. Mona Lessing-Harroch+Mr. Robert LevensonMr. Roy LevinRhoda LevinthalMs. Ardelle LevyPam G. LewisMs. Debra A. Leylegian+Claire and Herbert Lindenberger+Dr. Mary Jane W. LodaCarol and Bill LokkeMr. and Mrs. Steve LoveMs. Pirkko LucchesiMr. and Mrs. Lawrence Ludgus+Dr. and Mrs. G. Karl Ludwig, Jr.+Mrs. Chelsea D. LynchHoward and Siesel Maibach+Dr. Aditi MandpeMs. Joan MannDr. and Mrs. David Joseph MartinMs. Virginia MartinMs. Anita Martinez+Ms. Connie V. MartinezMs. Mary E. MasseeHolly and Stephen MasseyMs. Dosia MatthewsMr. and Mrs. L.W. Thomas May+Niko and Steven Mayer+Dr. and Mrs. W. D. McCallum+Mr. Glenn McCoy+Dan McDaniel, M.D.Ms. Kathleen McEligot+Lisa and Jason McPhateDr. and Mrs. Bruce MebineMr. David E. MedersMr. Martin MeliaDr. Beryl Mell+Mr. Steve MerloMr. and Mrs. James J. Messemer+Byron R. Meyer*+Mr. and Mrs. Lou MeylanRichard Miller and John Vinton+Dr. Shokooh MiryMr. Ted E. Mitchell+Ms. Betsy MoellerSusan and Jack Molinari+Mr. and Mrs. Ken Moonie+Mr. and Mrs. Dennis W. MoorheadMr. and Mrs. Donald MorganGary and Eileen MorgenthalerMr. Hokuto MoritaMrs. Dianne S. Morton

Mr. Milton J. Mosk and Mr. Thomas Foutch+Kathleen Much and Stanley PetersMrs. Jane S. Mudge+Ms. Sharon S. MuirMr. John MurphyMr. Roger MurrayPeter Johnson Musto+Ms. Vija Hovgard NadaiMrs. Shirley Negrin+Dr. Alex NellasDrs. Andrew and Lynn Newman+Diana Nichols+Ms. Allison NielsenPatricia and Hayes NoelMr. Paul NordineMr. Hiromichi NozakiMs. Linda L. Olson and Mr. David PolnaszekMr. and Mrs. Philip Ouyang+Mr. Bijan PajoohiMr. William D. Parent+Dr. Eugene H. PeckThe Phillips FamilyMr. and Mrs. Julien R. PhillipsHilary C. Pierce and Keir J. BeadlingMichael PirrungEdward and Linda Plant+Melissa and Ritchie Post+Tanya Marietta Powell+Dale and Danielle PowerMs. Sandra PriceMr. John PringleLouis Ptacek and Ying-Hui FuMr. Fritz QuattlebaumMs. Ruth QuigleyBarbara Rambo* and Thomas A. Goossens+Maria Elena and Jacob Ratinoff+James Deveney and Steve RauschDrs. Garry and Kathy Rayant+Ms. Teresa RemillardLouise and Paul RenneJon Q. and Ann S. ReynoldsMrs. Lisa A. RhodesMrs. Polly RichThomas C. Rindfleisch and A. Carlisle Scott+Mr. Jeremy RishelMr. Chip RoameMs. Kathryn RobertsL.L. Roberts and A.R. Wilbanks+Ms. Marcia A. RodgersMs. Jeanne RoseMs. Patricia RosenbergMr. and Mrs. David E. Rosenkrantz+Mr. and Mrs. Herbert RosenthalMr. Paul L. Rowe and Mr. Michael SerenoMr. Roberto Ruiz and Mr. Kevin LeePaul Sack and Shirley Davis+Ms. Deborah SaguesDr. Ellen SalwenLouise Adler SampsonMr. Warren H. SandellMs. Letitia SandersDonald and Terry Sarver+Mr. and Mrs. Richard SaveriGwendy and Anthony Scampavia+William and Linda SchieberCarolynne SchloederPeter Lotnar SchmidtWarren A. SchneiderMr. and Mrs. Andrew Schwab+Mrs. S. D. Schwabacher+Joan and Lynn SeppalaMs. Teresa SerataMr. and Mrs. Gary J. Shapiro+Mrs. Edith ShefferDr. David Tai-Man Shen and Mrs. Elaine Shen+Mrs. Harriet J. Simpson+Earl SingerMr. Aaron SittigDr. Dale Skeen+Karen L. SkidmoreMs. H. Marcia Smolens+

Mr. Scott C. SollersMary Ann Somerville+Rosemary G. SouthwoodMs. Ellice Sperber and Ms. Emma ElizaldeMrs. Rosemary R. SpitzerMr. and Mrs. Philip StrauseShelby T. StrudwickJoseph J. Sturkey+Mr. and Mrs. Peter SwartzMs. Lita SwirynMs. Nadine TangMr. James TeterMs. Holli P. ThierJudy and Harold TicktinMr. Dana TomLowell Tong and Alasdair NealeMs. Christine Z. ToobyMs. Amanda Topper+Suzanne M. Tucker and Timothy F. MarksGayla Tyson and Dan CotterMr. Herbert UetzPatricia Unterman and Tim SavinarMs. Lida UrbanekLarry M. ValesDr. Conrad VialMr. and Mrs. Gregg von ThadenMr. Richard A. VotavaMrs. Virginia WadeMs. Adrian WalkerMr. Richard WalshRosalie V. WeaverEitan Fenson and Barbara WeinsteinDr. Dana WeisshaarDaphne and Stuart WellsDavid and Kay WerdegarThe Whitman Family FoundationBenjamin and Mary Ann WhittenMelanie and Ronald WilenskyDavid and Karima WilnerMr. and Mrs. Terry WinogradMs. Muriel WolvertonCeleste and Darryl WooSharon* and Dr. Russell Woo+Beatrice WoodLaureen Woodruff+Mr. Babak YazdaniJacqueline YoungMs. Tatyana YurovskyMr. James ZawadaMr. John ZieglerMrs. Richard E. ZimmermanAnonymous (10)

54 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 55

Corporate and Foundation Support

Forward-thinking organizations understand the need to create a vibrant civic life in the places they do business. Leading corporations — local, national, and international — enhance their reputations by supporting San Francisco Ballet performances, touring, special events, and our community engagement programs. And when they do, they are able to promote their brand to an audience of opinion makers, entertain clients at performances, and receive other special benefits as part of a customized benefits package. Giving from private, family, and community foundations helps us commission new works; design and build sets and costumes; take the Company on tour; and engage our communities.

To learn more, contact Corporate Giving Officer & Interim Institutional Giving Officer Amy Drew at adrew@sfballet.org or 415 865 6616.

CORPORATE COUNCIL

IN-KIND DONORS

ARTISTIC DIRECTOR’S COUNCIL GIFTS OF $100,000–$249,999

First Republic Bank Osterweis Capital Management

PRESENTER’S COUNCIL GIFTS OF $50,000–$99,999

Bank of AmericaChevronInnovation Global CapitalJPMorgan Chase & Co.KPMGPacific Gas and Electric CompanyTiffany & Co.Wells Fargo Foundation

SPONSOR’S COUNCIL GIFTS OF $25,000–$49,999

Freed of LondonGibson, Dunn & Crutcher LLPKaiser PermanenteLa PerlaWells Fargo Private Bank

CHAIRMAN’S COUNCIL GIFTS OF $15,000–$24,999

Brunello CucinelliDodge & CoxPacific Union - Christie’s International Real Estate

CHOREOGRAPHER’S COUNCIL GIFTS OF $10,000–$14,999

Almaden PressGap FoundationIntegnologyMechanics Bank Wealth ManagementSaks Fifth Avenue Willis Towers Watson

DANCER’S COUNCIL GIFTS OF $5,000–$9,999

B|O|S (Bingham, Osborn & Scarborough, LLC)Delta Dental of CaliforniaDenning and CompanySpotHero

GRAND BENEFACTOR’S COUNCIL GIFTS OF $250,000 AND ABOVE

Bay Area Rapid TransitKGO-TVSan Francisco Chronicle

ARTISTIC DIRECTOR’S COUNCIL GIFTS OF $100,000 AND ABOVE

KCBS KNTV KPIX KQED TVSan Francisco magazine

PRESENTER’S COUNCIL GIFTS OF $50,000–$99,999

Bay Area ReporterJ Riccardo BenavidesMcCalls Catering & EventsPillsbury Winthrop Shaw Pittman LLP

SPONSOR’S COUNCIL GIFTS OF $25,000–$49,999

Avissi ProseccoBouchaine VineyardsFolie à DeuxUnited Airlines

CHAIRMAN’S COUNCIL GIFTS OF $15,000–$24,999

Ernest VineyardsThe Fairmont San FranciscoNob Hill Gazette Sutter Securities Incorporated

CHOREOGRAPHER’S COUNCIL GIFTS OF $10,000–$14,999

Almaden Press DotheBayKryolan Professional Make-upMiette

DANCER’S COUNCIL GIFTS OF $5,000–$9,999

Ashley Morgan DesignsEtude WinesPatina CateringUpOut

ASSOCIATE’S COUNCIL GIFTS OF $2,500–$4,999

Epi Center MedSpa

FOUNDATION AND GOVERNMENT SUPPORTGRAND BENEFACTOR GIFTS OF $250,000 AND ABOVE

Bently FoundationGrants for the ArtsE. L. Wiegand Foundation

ARTISTIC DIRECTOR’S COUNCIL GIFTS OF $100,000–$249,999

Gaia FundThe Hearst FoundationsThe William and Flora Hewlett FoundationGeorge F. Jewett FoundationKoret FoundationThe Bernard Osher FoundationThe Seiger Family FoundationThe Swanson Foundation

PRESENTER’S COUNCIL GIFTS OF $50,000–$99,999

Edward Baker FoundationCox Family FoundationFlora Family FoundationRichard and Elizabeth Fullerton Family FoundationStephen and Margaret Gill Family FoundationGrossman Family FoundationThe Diana Dollar Knowles FoundationNational Endowment for the ArtsThe Shubert Foundation, Inc.Wallis Foundation

SPONSOR’S COUNCIL GIFTS OF $25,000–$49,999

Arrillaga FoundationThe Frank H. and Eva B. Buck FoundationHellman FoundationH. B. and Lucille Horn FoundationThe William G. Irwin Charity FoundationLamond Family FoundationThe Charles Henry Leach, II FundMSB Cockayne Fund

CHAIRMAN’S COUNCIL GIFTS OF $15,000–$24,999

Crescent Porter Hale FoundationWalter & Elise Haas FundJohn Brockway Huntington FoundationRoberts FoundationThe Walske Charitable Foundation

CHOREOGRAPHER’S COUNCIL GIFTS OF $10,000–$14,999

Nancy & Joachim Bechtle FoundationCrankstart FoundationJohn and Marcia Goldman FoundationThe Guzik FoundationMimi and Peter Haas FundHeising-Simons FoundationScutchfield and DaughterThe Wingate FoundationK.A. Zankel FoundationZellerbach Family Foundation

DANCER’S COUNCIL GIFTS OF $5,000–$9,999

Mervyn L. Brenner Foundation, Inc.Chang Mooi Family FoundationClumeck FoundationFleishhacker FoundationMarilyn & Robert Funari Family FoundationEdward And Marjorie Goldberger FoundationLisa and Douglas Goldman FundThe Hope and Norman Hope FoundationWalter S. Johnson FoundationThe Kingsley FoundationLaube Family FoundationReach-A-Star FoundationJeanne and Sanford Robertson FundStorm Castle FoundationThe Laney Thornton FoundationThe Vasicek Foundation

ASSOCIATE’S COUNCIL GIFTS OF $2,500–$4,999

The Amphion FoundationThe Donald and Carole Chaiken FoundationDorrance Family FoundationLakeside FoundationPost Family FoundationSpringcreek FoundationUrbanek Family FoundationWender Weis Foundation for Children

VISIT THE SHOP AT SF BALLETYou’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 weekend matinees.

56 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 57

San Francisco Ballet Endowment Foundation

The San Francisco Ballet Endowment Foundation is a separate nonprofit public benefit corporation that holds and manages endowment funds, with the goal of supplying a reliable source of support while protecting its investments against inflation and wide swings in the capital markets. Each year, a transfer from the Endowment Foundation provides support for a variety of SF Ballet needs, including the creation of new works, touring, financial aid for SF Ballet School students, and community education and outreach programs. It is now the third largest source of revenue for SF Ballet after ticket sales and contributions. Donors who make gifts of $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, SF 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 fnasol@sfballet.org or 415 865 6622.

SF Ballet is honored to list the following named funds that contribute support for education and training initiatives. Those highlighted with an asterisk (*) were fully or primarily funded through bequests and other planned gifts.

Suzy Kellems Dominik School and Education FundGaia FundWalter & Elise Haas Education FundLibby and Craig Heimark FundWilliam S. Howe, Jr. Fund*Mark and Debra Leslie Education and Outreach FundThe Marie O’Gara Lipman Endowment for Dance Education in the Public SchoolsRandee and Joseph Seiger Education and Outreach FundJoyce Taylor Education Fund

Philip P. Berelson Scholarship Fund*The Bertelsen Family FundChristopher Boatwright Memorial Endowed Scholarship FundS. E. Bush, Jr. School Fund*Dr. and Mrs. George Cassady Student Scholarship FundHarold and Ruby Christensen Scholarship FundRuth A. Copley Endowed Scholarship Fund*Lee R. Crews School Fund*Barbara A. Daily Endowed Scholarship Fund*Sonia H. Evers School FundThe Fifth Age of Man Foundation Scholarship FundRita A. Gustafson Scholarship Fund*Philip and Alicia Hammarskjold FundThe William Randolph Hearst Foundation Scholarship FundEric Hellman Scholarship FundChris and Warren Hellman Endowed Scholarship FundRosalie G. Hellman Memorial Scholarship FundHurlbut-Johnson Charitable Trusts Introduction to Ballet Scholarship Fund*The James Family Endowed Scholarship FundDorothy and Bradford Jeffries Scholarship FundG. William Jewell Dance in Schools Endowed Scholarship Fund*Dr. and Mrs. Jerome Ormond Kirschbaum Trainee Fellowship FundThe Charles Henry Leach, II Fund for DISC ScholarshipsThe Charles Henry Leach, II Fund for School ScholarshipsNatalie Lauterstein Miller Memorial FundPhyllis W. Nelson Scholarship Fund*Shirley Black Palmer Scholarship FundYurie and Carl Pascarella FundBob Ross Scholarship FundDelores M. Schweizer Fund*K. Hart Smith Fund*Natalie H. Stotz Fund*Helgi Tomasson School Fund for New WorkCharlotte and Harry A. Turner DISC Family FundMarion Ury Fund*Keith White Scholarship Fund

ENDOWED FUNDS FOR EDUCATION PROGRAMS

ENDOWED FUNDS FOR SAN FRANCISCO BALLET SCHOOL

Your Legacy, Our Future

Beloved as a ballerina at San Francisco Ballet from the 1940s to the 1970s, Jocelyn Vollmar has also been a longtime mentor to students at SF Ballet School. She epitomizes the strength, grace, and artistry at the heart of SF Ballet. Jocelyn has played an important role in developing a cultural legacy in this world-class city—and so can you, by including our organization in your will or trust.

When you let us know that you’ve included SF Ballet in your estate plans, we’re pleased to invite you to join the Jocelyn Vollmar Legacy Circle. As a member, you’ll become a special part of the SF Ballet family and will be invited to exclusive events throughout the year.

Jocelyn Vollmar in “Black Swan” costume outside the Palace of Fine Arts, Golden Gate Park, May 31, 1962

FOR MORE INFORMATION Contact SF Ballet Planned Giving Manager Elizabeth Lani at 415 865 6623 or legacycircle@sfballet.org.

PROGRAMS 06 & 07 SAN FRANCISCO BALLET 59

Meryl Gordon, M.D.Michael W. GradyJeneal GranieriLawrence Grauman, Jr.Joan and Michael GreenPatricia Lindsay and Donald W. GreenRoger W. GreenJames GriesMartin C. HamiltonRosemary (Rosie) HayesTerry Hynes HelmCecilia and Jim HerbertLinda K. HmeloBetty Hoener Thomas E. HornDonald F. HoughtonMr. and Mrs. Terry HoulihanVija M. HovgardHarold D. and Jocelyn P. HughesMarie Louise HurabiellGary IsoardiDorothy and Bradford JeffriesBerdine JerniganMrs. Barbara JohnsonMark G. JonesMrs. René JopéDr. Devorah Joseph in memory of Nerrissa JosephDavid A. KaplanRose Adams KellyJohn KernsMrs. Jerome Ormond KirschbaumLinda and Robert KlettCarole Dillon KnutsonMs. June KronbergJoan Shelbourne KwansaSharon LamptonKimun LeeMarcia Lowell LeonhardtIrv Lichtenwald and Stephen R. RippleBetsy LimSusan R. LinCarol and Hal LouchheimBarbara LoweJames J. LudwigMr. and Mrs. Laurence R. LyonsSusan Adair MaleckiJo MarkovichJohn Robert MartinConnie V. MartinezMr. James D. MarverErika-Marie MatthesDosia MatthewsGwen and Hamp MauvaisSteven and Niko MayerMs. Shawna Marie McDonaldKathlyn McDonough and Dennis YamamotoDonald L. McGeeMrs. William L. McGeeDr. Terri McGinnisBetsy and Ed McGuiganJames H. McMurraySusan J. MeadowsRobert L. MerjanoSteve MerloKarl Meyer and Kelly HailsJ. Sanford Miller Ms. Joyce E. MillerMr. Sidney F. MobellNancy and Larry MohrPatricia MokMilton J. MoskKathleen MuchTom and Anne MullerPeter Johnson MustoVirginia Mylenki and James J. PidgeonMr. and Mrs. Robert L. NewmanTom NicollJeffrey A. NighNorman and Hillevi NullPeter Nye and James MarksMarc Sinykin and Kevin OsinskiJohn S. OsterweisJames O. Pearson, Jr.Rudy PicarelliKaren PosnerSteve and Cleo PostleRoger and Deborah Potash

Mr. and Mrs. Albert M. PriceJane RadcliffeDave and Judy RedoGlenn H. Reid and Frank S. LanierM.A. Rey-Bear TrustMr. and Mrs. Richard D. RingePat RobertsElsie RobertsonPauline and Richard RoothmanRenee and Dennis RossRenee RubinKarl Ruppenthal and Jo MaxonPat SandersonR. L. SauerDorothy SaxeNorman SchlossbergMs. Catherine SchmidtWalter and Sharon SchneiderAl SchroederLeonard C. SchwabHarold E. SegelstadMr. and Mrs. Jack SelfChristine SelleMichael and Daryl ShafranJ. Gary and O.J. Shansby FoundationJohn-Luke SheridanMrs. Carter Parrish SherlinCarol R. SholinEdward M. Silva Charles G. SmithCleveland M. SmithDr. W. Byron SmithM. Eileen Soden, Ph.D.Scott C. Sollers

Sue SommerSharon St. JamesStephen B. SteczynskiNancy SternSusanne StevensMrs. Dwight V. StrongJane and Jay TaberTom Taffel and Bill ReppMr. and Mrs. Alan TaiJack Eugene TeetersSam Thal, M.D.Richard J. ThalheimerSuzanne and Charles ThorntonJazz TiganMr. and Mrs. Howard TimoneyMichael E. TullyJanet Sassoon-Upton and John R. Upton, Jr.Carolyn and Terry VoetMrs. Katherine WallinMrs. Barbara W. WanvigRosalie V. WeaverDr. Frieda WeinerIngrid M. WeissDaphne and Stuart WellsBenjamin and Mary Ann WhittenKaren and Stephen WielMr. Burlington WillesMiles Archer WoodliefLaureen WoodruffDr. Robert and Sharon YoergJanice Hansen ZakinKristine A. ZeiglerMrs. Stephen A. ZellerbachAnonymous (72)

The Jocelyn Vollmar Legacy Circle

Your estate gift to San Francisco Ballet enrolls you in very special company: the Jocelyn Vollmar Legacy Circle. Jocelyn Vollmar’s career extended from performing roles in SF Ballet’s first Nutcracker and Swan Lake to training generations of dancers in SF Ballet School. We created the Jocelyn Vollmar Legacy Circle to recognize and thank those individuals who, as a part of their own legacy, make an investment in the future of SF Ballet.

Members gain special insight into SF Ballet and the creative process of dance through an annual celebratory luncheon and other behind-the-scenes events. 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. For information about Legacy Circle membership and estate gift options, please contact Planned Giving Manager Elizabeth Lani at elani@sfballet.org or 415 865 6623.

Michael C. AbramsonNorman Abramson and David BeerySophie and Ted AldrichAnthony J. AlfidiCal AndersonJola and John M. AndersonDavid and Judith Preves AndersonSteven D. AriasRoulhac and Tom AustinNancy R. AxelrodML Baird, in memory of Travis & Marion BairdRosemary B. BakerRichard C. BarkerValera Ferrea BarnhartMarie Schoppe BarteeMargaret Bates, M.D.Richard and Kathy BealCecelia BeamDr. and Mrs. Walter E. BergerKaren S. BergmanShannyn BessoniDavidson Bidwell-Waite and Edwin A. WaiteArthur BienenstockPatricia Ellis BixbyPhyllis B. BlairAviva Shiff BoedeckerJon BorsetDr. Carol BowdenBruce BradenLisa K. BreakeyRon and Susan BriggsLeonard Brill and Richard SanjourCynthia and Frederick BrinkmannMs. Agnes Chen BrownJames R. and Melinda M. BrownMarjorie and Gerald BurnettJulie and David BurnsPatricia ButlerAdrian and Carol ByramPatricia J. CampbellJack CapitoLinda Parker CassadyMichaela CassidyAnnag Rose Chandler

Antoinette ChattonLarry Chow and Ralph WolfDiane and William ClarkeRobert CleggBette Jean CluteMichael Q. Cohen and Carol Berman CohenMaggie Collins Jane A. CookMary Ellen CopnerColette V.A. CornishSandi CovellDeborah Pearson CowleyKenneth and Diane CoxLynda Meyer CroninGerald CurrierRamona Manke DavisCornelia Y. de SchepperMartha DebsDavid and Alaina DeMartiniKarel and Mark DettermanCharles DishmanEarl DiskinChristine H. DohrmannSam Alicia DukeJoseph Ehrman IIICarol EmoryMs. Frances EubanksJoan FalenderMerritt and Mary Lou FinkRichard FitzgeraldVictoria FlavellFrannie FleishhackerMr. and Mrs. Thomas W. FooteMary Jo FrancisDouglas FrantzSandra and Alfred FrickeJoseph and Antonia FriedmanConnie Marie GaglioShelby and Frederick GansJohn GarfinkleStephen and Margaret GillS. Bradley GillaughJane GitschierTeri and Andy Goodman

ESTATE GIFTS

Bequests and other estate gifts, both large and small, are an integral part of San Francisco Ballet’s financial well-being. We gratefully recognize the following patrons whose contributions to SF Ballet through their estates have provided meaningful support since July 1, 2012. We are honored by their generosity and vision for the future of the institution. To learn how to include SF Ballet in your own plans, please contact Elizabeth Lani, planned giving manager at elani@sfballet.org or 415 865 6623.

GIFTS OF $1,000,000 AND ABOVERichard B. GumpDiana Dollar KnowlesNatalie H. Stotz

GIFTS OF $500,000 TO $999,999Lee R. CrewsMilan Milton HoldorfMary Jo Pace

GIFTS OF $250,000 TO $499,000Ruth A. CopleySarah C. EvansDr. Florence R. OaksDelores M. SchweizerAnonymous

GIFTS OF $100,000 TO $249,999S. E. Bush, Jr.Nancy CroleyBarbara A. DailyWilliam K. DickLloyd N. HarperLouis E. Hendricks George W. LordMs. Vera M. LongPhyllis W. NelsonOlivia ThebusAnonymous

GIFTS OF $50,000 TO $99,999Ms. Edith HammersloughHarry William RedellS. Grace Williams

GIFTS UP TO $50,000Fritzi Benesch Thomas D. BensonEileen BobrowMarian Elizabeth CobbMs. Margaret M. CroninPhilip M. EisenbergPaul E. FeyJames Flanagan and E. Katherine WellsRuth Caron JacobsKeith Joseph IsaacsonJohn E. LeveenRuth MorseLee J. MosleyJulia NashJessica M. PutneyKarl RuppenthalMichelle ScholzPaul C. SilvaMarion and Willis SlusserL. Jay TenenbaumRobert L. WeissAnonymous (9)

THE FIRST BRAZILIAN

STEAK HOUSE IN THE BAY

SAN FRANCISCO | SAN MATEO | ESPETUS.COM

60 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 61

Thank You to Our VolunteersThe San Francisco Ballet “family” extends beyond the stage to include a large community of dedicated and generous volunteers who are personally involved in the Company’s success. The tireless efforts of these volunteers contribute greatly to SF Ballet’s accomplishments.

AUXILIARYVibrant, energetic, and passionately committed to the success of each new ballet season, Ballet Auxiliary members comprise an exclusive group of women who leverage their talents in fundraising events that each year raise more than $2 million for SF Ballet.

Mrs. Alexander Leff, President

ALLEGRO CIRCLEAllegro Circle is one of our newest organizations — a small and mighty group of donors who also volunteer their networks and their professional expertise to SF Ballet. There’s a start-up mentality to the way they work, lending their support and their entrepreneurial spirit to ensure SF Ballet’s success. For more, visit sfballet.org/allegrocircle.

STEERING COMMITTEEStewart McDowell Brady and Patrice LovatoCo-Chairs

Paula ElmoreAmanda GarrySusan MarschGregg MattnerPatricia Wyrod

ENCORE!If you’re a young professional who loves dance and a great party, dust off the tux, get out that gown, and join our 300 plus ENCORE! members as they go behind the scenes and share their love of ballet with other young people at a wide variety of social, educational, and networking events. For more, visit sfballet.org/encore.

LEADERSHIPChristopher CorreaPresident

Susan LinVice President

Angela ZhangSecretary

Daniel CassellTreasurer

Emily HuImmediate Past President

Alex ChristieLena GikkasVanessa Jn-BaptisteKelcie LeeElizabeth SgarrellaJamie TaylorMaggie Winterfeldt Clark

ACTIVE MEMBERSMs. Blanca AguirreMrs. Judy AndersonMs. Donna BachleMrs. Bartley B. BaerMs. Deborah Taylor BarreraMs. Alletta BayerMiss Carol BenzMrs. Steven BergmanMs. Catherine BergstromMrs. Ashley BermanMs. Linda BettencourtMs. Beverley Siri BorelliMs. Giselle BoscMrs. William S. BrandenburgMrs. Kent F. BrooksMrs. G. Steven BurrillMrs. David ByersMrs. Kathleen CoffinoMs. Rebecca CooperMrs. Angelos J. DassiosMs. Carole A. DemskyMs. Christine DeSanzeMrs. Samara DiapoulosMs. Patricia FerrinMrs. John E. FetzerMs. Jane GazzolaMrs. Vincent GoldeMrs. James M. GoodmanMs. Shelley GordonMrs. David GroveMs. Lori HarmonMrs. Joseph Harris, Jr.Mrs. Ronald R. HeckmannMrs. Christopher HemphillMrs. Holly HollenbeckMs. Kathryn A. HuberMs. Marie Louise HurabiellMrs. Richard JasenMrs. Jonathan Kaufman Mrs. James C. KellyMrs. Trecia KnappMrs. Carolyn Koenig

Ms. Claire Stewart KosticMs. Betsy A. LinderMrs. Carol LouieMrs. Rhonda MahendrooMrs. Heather Cassady MartinMs. Laura V. MillerDr. Shokooh MiryMrs. Elizabeth Robinson MitchellMs. Margaret MitchellMrs. Monika Moscoso-RiddleMrs. Sarah NewmarkerMrs. Michael O’SullivanMrs. Jack PrestonMs. Virginia Leung PriceMs. Maria K. RalphMs. Megan RayMs. Kacie RencMrs. Patricia Dale RobertsMs. René RodmanMs. Stephanie B. RussellMs. Meg RuxtonMrs. James D. Seltsam, Jr.Ms. V’Anne SingletonMs. Grace Nicolson SorgMs. Holli ThierMrs. Andrea Valo-EspinaMrs. Patrick WalravensMs. Amy Wender-HochMrs. Aimee WestMs. Freddi WilkinsonMrs. Eric WoldMrs. Robert W. WoodMs. Patricia WyrodMiss Carla WytmarMrs. Ronald Zaragoza

Mrs. Helgi TomassonHonorary Member

SUSTAINING MEMBERSJola AndersonMrs. James P. AnthonyMrs. Thomas G. AustinMs. Rosemary B. BakerMs. Katherine BanksMs. Harriet L. BarbanellMrs. Patrick V. BarberMrs. Kent T. BaumMrs. Peter BerlinerMrs. John W. BitoffMrs. Athena BlackburnMrs. Richard A. BocciMrs. Caroline Krawiec BrownstoneMrs. Donald W. CarlsonMrs. Walter CarpenetiMrs. Charles E. ClemensMiss Robin CollinsMs. Christine Leong ConnorsMrs. Daniel P. CronanMs. Gail De MartiniMrs. Theodore S. DobosMrs. David DossetterMrs. Happy DumasDr. DiAnn EllisMrs. Douglas J. EngmannMrs. Christian P. ErdmanMs. Lorre ErlickMs. Dixie D. FurlongMrs. Stephen GhiselliMrs. William E. GraysonMs. Nonie H. GreeneMrs. John P. GrottsMs. Catherine D. HargraveMrs. Michael R. HaswellMrs. Terrence M. HazlewoodMs. Terry Hynes HelmMs. Mindy HendersonMs. Kelli HillMrs. Kurt HoeferMrs. Michael F. JacksonMs. Daru H. KawalkowskiMs. Lisa A. Keith

Mrs. William N. KellerMrs. Robert D. KrollMrs. William D. LammMs. Jean LaretteMiss Elizabeth LeepMs. Debra A. LeylegianMrs. Barry R. LipmanMs. Sheila M. LippmanMrs. John C. LundMrs. Robert W. MaierMs. Susan A. MaleckiMs. Sandra MandelMrs. Michael L. MauzéMrs. Mark A. MedearisMrs. James J. MessemerMs. Alison MorrMrs. Jane S. MudgeMs. Vickie NelsonMrs. Robert L. NewmanMrs. Peggy L. NewtonMs. Carole A. ObleyMrs. Edward PlantMrs. Nick PodellDame Tanya Marietta PowellMrs. Todd G. RegenoldMs. Lorrae RomingerMs. Dara C. RosenfeldMrs. Jay RyderMs. Isabel M. Sam-VargasMs. Ellen SandlerMrs. Thomas SchiffMrs. Elaine Wong ShenMs. Merrill Randol SherwinMs. Karen L. SkidmoreMrs. Susan SolinskyMrs. Mathew SpolinMrs. Jerome J. Suich IIMrs. Judy SwansonMs. Jody K. ThelanderMrs. Charles V. ThorntonMs. Elizabeth W. VobachMrs. Gregg von ThadenMs. Barbara WaldmanMrs. Wallace Wertsch

BRAVO

BRAVO is a group of more than 300 dance enthusiasts whose services and support are vital to the ongoing success of San Francisco Ballet. Each year BRAVO members contribute a collective total of more than 10,000 hours of volunteer assistance, striving behind the scenes to bring the wonder of ballet to life. In the process they get a personal close encounter with the inner workings of the world of SF Ballet. For more information and to apply for membership, visit sfballet.org/bravo.

Patricia D. Knight, President

VOLUNTEER HOURS DURING THE 2015–2016 SEASON

250+ HoursCorine AssoulinePaulette CauthornJoan GreenJulie HawkinsGiovanna JacksonPatricia KnightSuzanne KnottPirkko LucchesiDosia MatthewsSteve MerloKathryn Roberts

100–249 HoursMargaret AndersonJenny Au-YeungCarolyn BalsleyMarilyn BreenThomas BrownMartha DebsPhilip FukudaRoger GreenJames Gries

Elmira LagundiJohn MazurskiBetsy McGuiganRoberta McMullanPatricia NelsonDeric PatrickHoward PerkinsSue PlasaiTwyla PowersPauline RoothmanLacy SteffensSteve WongDaphne WrayJill Zerkle

55–99 HoursJon BorsetMary DaviDoris DuncanRoslyn EngKeiko GoldenPiers GreenhillMichael Hart

Susanne JohnsonKathy JuddLaura KerepesiCarrie KostDavid LauAldona LidjiSteve LovingMargaret McCormack WilcoxLinda MiyagawaKeiko MooreGale NiessDeborrah OrtegoJohanna PayneSara PopeAnne SnowballTracy StoehrSherrie SzalayLeslie TsirkasKaren WielMichael WilliamsMay Yasui

40–54 Hours Edie BazjanacMonique BouskosEmmy DiepInna EdwardsTariq El-AminBettina GrafSusan KalianKiyoshi KimuraRobin KinoshitaMelissa Lee-GardnerCyndy LeeTani NagaokaMarthe NyborgJazmine PaniaguaCynthia SidesJoshua TheakerGina Thoma-PetersonDesmond TorkornooSteve TrenamAudrey Tse TreanorStas Yurkevich

San Francisco War Memorial and Performing Arts CenterWar 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

Thomas E. Horn, President Nancy H. Bechtle, Vice President Belva Davis Lt. Col. Wallace I. Levin CSMR (Ret.) Gorretti Lo Lui Mrs. George R. Moscone MajGen J. Michael Myatt, USMC (Ret.) Paul F. Pelosi Charlotte Mailliard Shultz Vaughn R. Walker Diane B. Wilsey

Elizabeth Murray, Managing Director Jennifer E. Norris, Assistant Managing Director/Executive Secretary

62 SAN FRANCISCO BALLET SFBALLET.ORG PROGRAMS 06 & 07 SAN FRANCISCO BALLET 63

OBJECTS FOR LIFE

01_212,7X276,2_USA.indd 1 29/12/2016 11:53 EAP full-page template.indd 1 2/17/17 12:57 PM