Ballet BC & Soledad Barrio & Noche Flamenca - White Bird Dance

2015-16

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DISCOVER A WORLD OF DANCE

BALLET BC

November 18, 2015 | Arlene Schnitzer Concert Hall

SOLEDAD BARRIO & NOCHE FLAMENCA December 3-5, 2015 | Newmark Theatre

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10/15/15 12:11 PM

PHOTO BY JENNIFER ALYSE

WELCOME

VIBRANT DANCE FROM CANADA AND SPAIN After a very busy opening, with three shows in 10 days (MOMIX, Twyla Tharp and L-E-V), we are happy to settle down to a calmer schedule with Ballet BC in November and Noche Flamenca in December. However, “calm” in no way describes these two intensely vibrant companies.

In May 2013, we introduced Ballet BC to Portland with a program exemplifying the passion and commitment of its artistic director Emily Molnar in developing an amazingly talented company performing work by today’s outstanding choreographers. We are delighted to bring Ballet BC back with three works by White Bird favorite Crystal Pite from Vancouver BC, Cayetano Soto from Spain (the company’s new resident choreographer) and Stijn Celis from Belgium. We recently sat in on a Ballet BC rehearsal of the program in Vancouver, and the strength and the bold attack of each dancer were breathtaking.

December marks the return of Noche Flamenca, the hugely popular company featuring the magnetic Soledad Barrio accompanied by several of the most acclaimed dancers and musicians in the flamenco world. We strongly believe that flamenco is best appreciated in intimate settings.

In January 2014 we first presented Noche Flamenca at the Newmark, and this theater will again provide the perfect setting to experience the intensity and nuances of the these superlative artists.

We then take our normal holiday break, but we want to remind you of our popular Holiday Pack— four shows (Kyle Abraham, ODC/Dance, TIMBER! and Malpaso Dance Company from Cuba)— for only $99. This is the perfect gift to introduce your family, friends and colleagues to the world of dance that defines White Bird. For more information and to order, please stop by our lobby tables or visit us online at whitebird.org/gift.

We wish you a joyous and restful holiday season.

Paul King

Walter Jaffe

White Bird is proud to belong to Dance/USA, the national service and advocacy organization for the dance field. For more information, please visit danceusa.org

WHITE BIRD DANCE | P1

THANK YOU FLOCK MEMBERS. YOU MAKE A HUGE DIFFERENCE!

IF YOU ARE NOT YET CONTRIBUTING, PLEASE CONSIDER A GENEROUS GIFT TO WHITE BIRD. IF YOU ARE CONTRIBUTING, WE ENCOURAGE YOU TO GO HIGHER! Our Flock List is current as of October 16, 2015. Contributions after this date will be reflected in the next program. Any questions, please contact Walter Jaffe, wjaffe@whitebird.org , (503) 245-1600, Ext. 202.

Generous contributors to the White Bird /MKG New Works Fund since September 2008.

TITANIUM PLUME ($10,000+) Sheryl Acheson/ Bonhams The Collins Foundation Doris Duke Charitable Foundation Ken & Ann Edwards/ Starseed Foundation Fred W. Fields Fund of The Oregon Community Foundation Walter Jaffe & Paul King Lola Jaffe & The Jaffe Foundation Ronni Lacroute/WillaKenzie Estate Dorothy Lemelson Trust National Endowment for the Arts Meyer Memorial Trust James F. & Marion L. Miller Foundation Gary Nelson & Minh Tran Oregonian Media Group Regional Arts & Culture Council including support from the City of Portland, Multnomah County and the Arts Access Fund PGE Foundation Darci and Charlie Swindells Fund of The Oregon Community Foundation George & Nancy Thorn Marc H. Walters Willamette Week Work for Art PLATINUM PLUME ($5,000+) Barbara Fitzgerald/ B Fitz Charitable Trust The Boeing Company Columbia Bank/West Coast Trust Joan Cirillo & Roger Cooke Consulate General of the Netherlands Mair & Hugh Lewis Jeanie McGuire Magaurn Video Media New England Foundation For The Arts Oregon Arts Commission Jon Palanuk & Vinh Wong Yale Popowich & Tina Skouras PosterGarden Trust Management Services Vibrant Table Western States Arts Federation/WESTAF Jim & Susan Winkler GOLD PLUME ($2500+) The Autzen Foundation Consulate General of Israel Creative Capital Foundation Michael Curry Design Mark Gaskill/ MGK Financial Group Gregory Flick & Kim Morrison Carol Streeter & Harold Goldstein Sandy & Stephen Holmes Rick & Patricia Kozak

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P2 | WHITE BIRD DANCE

Food In Bloom Charles & Kyle Fuchs Jacquelin Gordon Bruce Guenther & Dr. Eduardo Vides, MD Hot Lips Pizza Jason Hyde Carol Ihlenburg Illinois Tool Works Foundation Heather Jenkins Dale Johannes Dennis Johnson Jessie Jonas Steven Kafoury & Marge Kafoury Norm Kalbfleisch & Neil Matteucci Gary Leavitt Kirsten Lee Mike & Bonnie Leiser Ross Lienhart & Sheila Edwards-Lienhart Tom Manley Joan Heinkel & Ben Massell Carol Schnitzer Lewis Fund of The Oregon Community Foundation David Maudlin Richard H Meeker & Ellen F. Rosenblum Wayne Miya VeAnna Morgan & Pam Town Matilda Newgard The Nutt House Fund/ McKay & Jay Nutt McKay & Jay Nutt Robert & Carolyn Palanuk Ronald Pausig Stanley & Susanne Penkin & Jean Krosner Bonnie Reagan Ken Salaman & Jay Harter John Shipley Jaymi & Francis Sladen Carol Smith-Larson Claudia Taylor Judith & Donald Thornburg Travel Portland Herb Trubo & Steve Buchert Tula Gluten Free Bakery Peter J Vennewitz Ellen Walkley Gail Webb & Liz Bothwell ANGEL ($250+) Anima Mundi Productions Elizabeth Arch Wm Robert Bucker Kelsey Bunker David Cassard James & Mary Chase Susan Dale Jack & Terri Duncan Valarie Grudier Edwards Leslye Epstein & Herman Taylor Art Fortuna Christine & Bob Gilmore Arthur Glasfeld & Susan Mikota Ivan Gold Darlene Hardie Daniel Hess Bill Hogsett Leslie Homer Kevin Irving

Bob & Jill Jaffe Loren Jenkins Karen Kemper Anna S. King Scott Lewis John Light & Patricia Barnes-Light Barbara Lovre Judith Bieberle Marks Jim McGinn & Jamie Bluhm Sarah McNary Monique's Boutique Martin C. Muller Portland General Electric Co. Judith Eitelberg Posey Sarah & Rhys Quinn Alison Roper Fred Ross Donna Shu Donna Silverberg Eric Skinner & Daniel Kirk Steven Smith Drs. Donnelen & Richard Sogn Southpark Seafood Grill Leslie Spencer & Jim Huffman Aaron Tersteeg & Jessica Vasi Judith Tuinzing Voodoo Doughnuts Brenda Way FEATHERED FRIENDS ($100+) Anonymous Anonymous Anonymous Marlene Anderson Allison Anderson Ruby Apsler Michele & Bill Bader Peter Banitt Bill Bard & James Donder Terrence Bean Dr. Diana Bell Patsy Crayton Berner Fred Blank Joe Blount Sheila Botke Martin & Diane Brandt Warren & Donna Brown T.J. Browning & Scott Pratt Jennifer Bruml Marianne Buchwalter Kathryn Burlingham Amy Drake Campbell Mary Lou Cavendish & Michael Hughes Lisa Chickadonz Ed Abrahamson & Cynthia Chilton Catherine Clark Bradley Coffey Susan Cyganiak Anne Driscoll Heather Eberhardt Jonathan Edwards Thomas Ellis N Douglas Elwood Meredith English Phil Brady & Pat Evenson-Brady Stuart Farmer Carolyn & Ruthie Ferguson Brian Ferriso, Portland Art Museum Margaret W Frank Jerome & Mary Fulton

Patricia Gauer Laraine Gladstone Estelle Golden Pam Greenough Corrie Deanna Haley Evelyn Hamann Courtney Haxton Stephanie & Alan Hardy Terry Hasegawa Jennifer Heilbronner John Holloran Mark Holloway Ava Hoover Brook & Ann Howard Jan Hurst Martha Ireland Rachel Jacky AJ Arriola & Alice Jacobson David Jensen Daphna & Iddo Kadim Paula Kanarek Anne Kauffman Jan Kennedy Robert Kravitz Ted Lamb James & Luise Lane Paula Levinrad Jonathan & Vida Lohnes Katherine Longstreth Jonathan Lurie Bel-Ami Margoles Alice McCartor Mike McCulloch Kelly McDermott Carla McKelvey Anne Egan & Tim McNichol Victoria McOmie Jackie & Daniel Moore Josie Moseley Martha Murray Alison Nimura Jean Omelchuck Laura Orr Barry Pack Toni Parque Karen Pazucha & Laurence Morandi Sondra & Gordon Pearlman Francis Peters Cheryl & David Pfaff Scott Philips Pho Van Restaurants Laurie Pino Willie Poinssette Brett Popovich & Sheila Sund, MD George & Sue Porter Marthel Porter Mike Preaseau David Pribnow Skip Priest David Quivey David Ritchie & LaJean Humphries Charles & Judith Rooks Cara Rozell Dan Saltzman Meredith & William Savery James Scherzinger & Claire Carder Penelope Schott & Eric Sweetman Roger & Janice Shea Joan & Paul Sher Stefanie Silverman Jon & Ann Sinclair Paul M. Keown & Clyt'e Speidel Janne Stark & Charles Curb Kathleen & Leigh Stephenson-Kuhn Laura Stockwell Eric Stucky Stephanie & Stephen Sussman Bobby Swanson Gary Taliaferro Kathy Taylor Misty Tompoles Jonnathan Triton Beverly Trover Lyle Tucker Carol Turtle Jane Unger

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Liz O'Donnell Lee Ann & Daniel O'Leary Deborah Oliver Margaret Olney Vonda Page Jerry Parks Judith Paul Karl & Mary Paulson Gerard Perrone John M. Petersen & Roger Ernst Paul Pierce Amanda Plyley Kay Pollack Naomi Price Austin Raglione Brian Rea Benjamin Read Pete Reagan Jerry Reynolds Mary Rice Sydney Rice Alene Rich Amelia Richman Kirkland Roberts Ruth Robinson Kat Rosenbaum Zach Ruhl Elizabeth Sandoval Carolyn E Savage Anne Savery Sheryl Scali Christina Scarzello Willa Schneberg & Robin Bagai Gary Schreiber Suzanne Silverstein Gail Simmons John Slocom Elaine Smith Kenneth Songer Cheryl Speer & Phil Brown Erica Steele Eugene Stevens Renee Stoops Beth Stout Erica Swartz Anna Szemere Carol Tatch Merri Lynn Taylor Indigo Teiwes Shirley Theraton Bethany Thomas James Thompson David Threefoot Luciana Trevisan Dave Trost Gene Troyer Mitchel Turbin Barbara & Vernon Utz Jone van Rees Sarah Vanderpoe Philip Varnum Janet Voss George Vranas Nikki Weaver David Weissman Bill & Hilda Welch Edward Welsh Judith Werner Kentrel Wesson Alexandra West Carrie White White B**ches Carole Whiteside Michaelene Wilcox Larry Williams Louise Williams Lawrence Williams Shirley Williams Anne Williamson Robin Wilson Dan Wolfe Britt Woessner Rhiannon Wood Sara Yada Monica A Yoshinaga & Milton Cohen Diana Zapata Allan Bruce Zee Photography Jennifer Zickel Linda Zuckerman

ACKNOWLEDGMENTS White Bird extends great thanks to the following foundations and government agencies for their support of the 2015–16 eighteenth season.

THE JAMES F. & MARION L. MILLER FOUNDATION

The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County and the Arts Education & Access Fund, Work for Art, including contributions from more than 75 companies and 2,000 employees; Starseed Foundation.

COMMUNITY PARTNERS artistic directors jamey hampton + ashley roland

artistic directors jamey hampton + ashley roland

BOARD OF DIRECTORS Paul King, President Nancy & George Thorn, Co-Vice Presidents Walter Jaffe, Secretary/Treasurer

Kendall Acheson Sheryl Acheson Mark Gaskill Sandra Holmes

Gary Nelson Darci Swindells Charles Swindells Minh Tran

THE WHITE BIRD TEAM Walter Jaffe, Co-Founder/General Manager, wjaffe@whitebird.org Paul King, Co-Founder/Development Manager, pking@whitebird.org Chelsea Bushnell, Audience Services Manager, chelsea@whitebird.org Caleb Bourgeois, Executive Assistant/Special Projects Manager Suzanne Isiorho, Marketing Manager Hannah Luckow, Administrative Assistant Jeff Forbes, Technical Manager Lauren Bayard, Volunteer Poster/Flyer Coordinator Andrea Goodwin, Volunteer NEST Program Coordinator Natalie Anthony, Graphic Design Dave Weaver, Web Designer Office Volunteers: Connie Guist, Mary McGilvra, Stephanie Sussman, Jessica Vasi Fiscal Services: Gary McGee & Co.

We welcome your contribution online at www.whitebird.org or contact Paul King, at 503-245-1600 ext. 203, pking@whitebird.org.

Checks can be sent to White Bird, PO Box 99, Portland, OR 97207-0099 White Bird is a 501(c)(3) non-profit organization dedicated to bringing excellence in dance to Portland, Oregon.

WHITE BIRD DANCE | P3

NOVEMBER 18, 2015 Photo by Michael Slobodian

NOVEMBER 18, 2015 ARLENE SCHNITZER CONCERT HALL

presents

ARTISTIC DIRECTOR

Emily Molnar EXECUTIVE DIRECTOR

Branislav Henselmann REHEARSAL DIRECTOR

RESIDENT CHOREOGRAPHER

Sylvain Senez

Cayetano Soto

CHOREOGRAPHERS

Stijn Celis Crystal Pite Cayetano Soto DANCERS

Brandon Alley Andrew Bartee Emily Chessa Livona Ellis Alexis Fletcher

SPONSORS

Scott Fowler Rachel Meyer Brett Perry Racheal Prince Christoph von Riedemann

Gilbert Small Peter Smida Kirsten Wicklund Tara Williamson

MEDIA SPONSOR

KEN & ANN EDWARDS

The use of photography is prohibited. Please silence your cell phones.

WHITE BIRD DANCE BALLET BC | P5

TONIGHT’S PROGRAM AWE

SOLO ECHO

World Premiere: November 2015, Ballet BC

Canadian Premiere: November 2015, Ballet BC

CHOREOGRAPHY Stijn Celis MUSIC Performed by Chor Leoni under the direction of Erick Lichte

World Premiere: February 2012, Netherlands Dans Theater

Piotr Janczak, De Profundis Carl Orff, Sunt Lacrimae Rerum: 1st movement – Omnium Deliciarum Eriks Esenvalds with text by Leonard Cohen, Wandering Heart LIGHTING DESIGN James Proudfoot COSTUME DESIGN Kate Burrows REHEARSAL DIRECTOR Bruce McCormick

PERFORMERS Brandon Alley, Andrew Bartee, Emily Chessa, Livona Ellis, Alexis Fletcher, Scott Fowler, Rachel Meyer, Brett Perry, Racheal Prince, Christoph von Riedemann, Peter Smida, Tara Williamson

WANDERING HEART Twelve O’clock Chant Hold me hard light, soft light hold me, Moonlight in your mountains fold me, Sunlight in your tall waves scald me, Deathlight in your darkness wield me.

In burlap bags the bankers sew me, In countries far the merchants sell me, In icy caves the princes throw me, In golden rooms the doctors geld me, In battlefields the hunters rule me.

I will starve till prophets find me, I will bleed till angels bind me Still I sing till churches blind me, Still I love till cog-wheels wind me.

Hold me hard light, soft light hold me, Moonlight in your mountains fold me, Sunlight in your tall waves scald me.

Deathlight in your darkness wield me.

I Lost My Way I lost my way, I forgot to call on your name.

The raw heart beat against the world, and tears were for my lost victory.

But you are here. You have always been here.

The world is all forgetting, and the heart is a rage of directions, but your name unifies the heart, and the world is lifted into its place.

Blessed is the one who waits in the traveler’s heart for his turning.

The Road is Too Long The road is too long, the sky is too vast.

The wandering heart is homeless at last.

INTERMISSION P6 | WHITE BIRD DANCE BALLET BC

CHOREOGRAPHY: Crystal Pite MUSIC Johannes Brahms, Allegro non troppo: Cello Sonata Op. 38 in e minor; Adagio affetuoso: Cello Sonata OP. 99 in F major Yo Yo Ma, cello Emanuel Ax, piano Recording used by arrangement with Sony Music Entertainment Canada, Inc.

LIGHTING Tom Visser SET DESIGN Jay Gower Taylor COSTUMES Crystal Pite and Joke Visser STAGED BY Eric Beauchesne

PERFORMERS Brandon Alley, Andrew Bartee, Emily Chessa, Alexis Fletcher, Scott Fowler, Christoph von Riedemann, Kirsten Wicklund LINES FOR WINTER

by Mark Strand

Tell yourself as it gets cold and gray falls from the air that you will go on walking, hearing the same tune no matter where you find yourself— inside the dome of dark or under the cracking white of the moon’s gaze in a valley of snow.

Tonight as it gets cold tell yourself what you know which is nothing but the tune your bones play as you keep going. And you will be able for once to lie down under the small fire of winter stars.

And if it happens that you cannot go on or turn back and you find yourself where you will be at the end, tell yourself in that final flowing of cold through your limbs that you love what you are.

INTERMISSION

ABOUT THE COMPANY TWENTY EIGHT THOUSAND WAVES World Premiere: April 2014, Ballet BC CHOREOGRAPHY, LIGHTING & COSTUME DESIGN Cayetano Soto MUSIC David Lang: We Sit and Cry, I Lie (from the little match girl passion) Used by arrangement with Harmonia Mundi U.S.A. and G. Schirmer, Inc, Publisher and copyright owner

Bryce Dessner: Aheym

Aheym was written for the Kronos Quartet and appears on Kronos’ ANTI-release Aheym: Kronos Quartet plays music by Bryce Dessner. Used by arrangement with G. Schirmer, Inc, Publisher and copyright owner.

LIGHTING DIRECTION James Proudfoot

COSTUME COORDINATION Kate Burrows PERFORMERS Brandon Alley, Andrew Bartee, Emily Chessa, Livona Ellis, Alexis Fletcher, Scott Fowler, Rachel Meyer, Brett Perry, Racheal Prince, Gilbert Small, Peter Smida, Christoph von Riedemann I always find myself captivated by the thin line between life and death and especially the rebirth of new energies after death; how we adapt to a new environment, find ways to survive and enforce our boundaries. With Twenty Eight Thousand Waves, I am focusing on my inner waves of survival instinct.

–Cayetano Soto

Founded in 1986, and under the leadership of Artistic Director Emily Molnar since 2009, Ballet BC is an internationally acclaimed collaborative and creation-based contemporary ballet company that is a leader and resource in the creation, production and education of contemporary dance in Canada. Bold and innovative, the Company’s distinctive style and approach has helped it make a unique and valuable contribution to the development of dance in Canada.

Ballet BC’s dancers are a group of open-minded and deep-thinking artists, each unique for their dynamic movement while sharing an intuitive passion for dance. Ballet BC is committed to its role as a leader in the community through dancer training opportunities, community and audience outreach, and professional development activities.

The Company presents a diverse repertoire of Canadian and international work from the late 20th and early 21st centuries, and is a hotbed for the creation and performance of new works. Since 2009, the Company has developed a repertoire of more than 35 new works by acclaimed Canadian and international choreographers including: William Forsythe, Itzik Galili, Jorma Elo, Cayetano Soto, Crystal Pite, Johan Inger, Walter Matteini, Gustavo Ramirez Sansano, Jacopo Godani, José Navas, Emily Molnar, Nicolo Fonte, Lesley Telford, Wen Wei Wang, Medhi Walerski, Serge Bennathan, Fernando Hernando Magadan, Kevin O’Day, Shawn Hounsell, Gioconda Barbuto, Simone Orlando, Robert Glumbek and Aszure Barton among others.

Under the artistic direction of Emily Molnar, former member of The National Ballet of Canada, Ballet BC and the Frankfurt Ballet, the Company actively fosters collaborations that support artists, choreographers and audiences alike, furthering the boundaries of contemporary dance. We embrace excellence in the practice of contemporary ballet, with its wide diversity of technique and style, honouring its roots and components. In our view, contemporary ballet is the ballet of today.

WHITE BIRD DANCE BALLET BC | P7

DANCERS BALLET BC BRANDON ALLEY A North Carolina native, Brandon Lee Alley began his dance training at the Eastern Randolph High School when he was 14 under the direction of Britt Allen. He later attended the Greensboro Ballet’s year long program on a full scholarship and graduated from the University of North Carolina School of the Arts specializing in contemporary dance in 2012. Brandon has had the pleasure of attending many summer intensives including Ballet Austin, Hubbard Street Dance Chicago and LINES Ballet. He has also worked with choreographers such as Victor Quijada, Alejandro Cerrudo, Robyn Mineko Williams and Greg Dolbashian among many others. Brandon began his professional career with Hubbard Street 2 and has been a member of BODYTRAFFIC. He is extremely grateful to be joining the Ballet BC family this year and to be apart of the Vancouver dance community. Brandon would like to thank his wonderful teacher, Britt Allen for supporting him every step of the way and his family and friends for their guidance and love.

ANDREW BARTEE Andrew Bartee is from Everett, Washington. He studied on scholarship at the Pacific Northwest Ballet School in Seattle, WA and attended summer courses at the School of American Ballet, American Ballet Theater, and the Pacific Northwest Ballet School. Andrew was the first recipient of the Fleming Halby exchange with the Royal Danish Ballet and a 2007 Princess Grace Award.

Andrew danced with Pacific Northwest Ballet from 2008-2014. While in Seattle he also danced frequently with Whim W’Him and Kate Wallich + The YC. Andrew joined Ballet BC in 2014.

EMILY CHESSA Originally from Richmond, BC Emily began her professional dance training at the Royal Winnipeg Ballet School at age 15 where she received the Paddy Stone Scholarship for choreography and the Arnold Spohr P8 | WHITE BIRD DANCE BALLET BC

Scholarship. After graduating the school in 2010, she then went to train at Arts Umbrella in the graduate program under the guidance of Artemis Gordon. She participated in summer programs such as the Movement Invention Project in New York and Springboard Danse Montreal. Since joining Ballet BC In 2012 as an apprentice she has performed works by Emily Molnar, Cayetano Soto, William Forsythe, Johan Inger, Medhi Walerski, Gustavo Ramirez Sansano, Jacopo Godani and Walter Matteni. Emily is thrilled to be in her 3rd season with the company.

LIVONA ELLIS Vancouver-born Livona Ellis started dancing at the age of 11 at Arts Umbrella under the direction of Artemis Gordon. Since joining Ballet BC, Livona has been fortunate to work with worldrenowned artists such as Johan Inger, Medhi Valerski, and Crystal Pite. She has been a part of Springboard Danse Montreal, Movement Invention Project, The Banff Professional Dance Program and the San Francisco Conservatory of Dance Summer Program. This is her 6th season with Ballet BC.

ALEXIS FLETCHER Alexis Fletcher was raised on Vancouver Island where she received her early training before attending Arts Umbrella’s Graduate Program. Alexis was a member of the Arts Umbrella’s student company and attended Springboard Danse Montreal.

After graduating in 2005, she joined Ballet BC, where she has been fortunate to work with creative visionaries such as Crystal Pite, Emily Molnar, John Alleyne, Johan Inger, Stijn Celis, Jacopo Godani, Medhi Walerski, Fernando Hernando Magadan, Serge Bennathan, Gioconda Barbuto, and Jorma Elo among many others. Independently she has worked collaboratively with creators such as Sidra Bell, James Gnam, Simone Orlando, Rob Kitsos and Wen Wei Wang. Alexis is passionate about creating and is fascinated by how exploring the movement potential of the human body becomes a way of accessing the inner landscapes of our spirits and psyches. As

well as beginning to choreograph, she has co-created a multidisciplinary performance space with her husband at their home in Vancouver. They also run a successful Bed and Breakfast business together. Alexis is in her 11th season with Ballet BC.

SCOTT FOWLER Born in Vancouver, Scott Fowler trained at Arts Umbrella under the direction of Artemis Gordon, and attended summer intensive programs at American Ballet Theatre, The National Ballet School and Jacob’s Pillow. He performed in Alberta Ballet’s The Nutcracker, Ballet BC’s Peter Pan and in the Opening Ceremony for the 2010 Olympic Winter Games in Vancouver. Scott received a scholarship grant from the BC Arts Council in 2010.

In 2011, he toured the Netherlands, performing at Codarts and worked with Noord Nederlandse Dans. Scott was invited in 2013 by James Kudelka to perform See#3 as a guest artist for Coleman, Lemieux & Compagnie.

Scott has been privileged to work with choreographers Aszure Barton, Gioconda Barbuto, James Kudelka, Emily Molnar, Jacopo Godani, Wen Wei Wang, Medhi Walerski, Cayetano Soto and Lesley Telford. This is Scott’s 2nd season as a full company member.

RACHEL MEYER Rachel Meyer grew up in Collinsville, Illinois, trained with St. Louis Ballet and received her BFA at the University of Utah. She trained at the Northwest Professional Dance Project and the San Francisco Conservatory of Dance, danced with Utah Regional Ballet and was a guest artist with Aspen Santa Fe Ballet and Les Grands Ballets Canadiens. From 2009-11, Rachel was a member of Dominic Walsh Dance Theater where she danced works by Dominic Walsh, Mauro Bigonzetti, Vaclav Kunès, Jirí Kylián, and Mats Ek. She was awarded a Princess Grace Award in 2010. In 2011, she danced at the Tate Modern in London with the Michael Clark Company. With Ballet BC she has performed works by Emily Molnar, Walter Matteini, Johan Inger,

DANCERS BALLET BC William Forsythe, Gioconda Barbuto, Jacopo Godani, Medhi Walerski, Cayetano Soto, Aszure Barton, among others . This is Rachel’s 5th season with Ballet BC.

BRETT PERRY Brett Perry started dancing at the age of three at The Dance Company in Indianapolis, Indiana under the direction of Diane Gudat. After graduating from The Juilliard School in 2008, Brett started his professional career with Trey McIntyre Project in Boise, Idaho where he spent six years with the company. Over the last year as a freelance artist, Brett worked with Aszure Barton and Artists, Lar Lubovitch Dance Company, Adam Weinert and Lauren Edson. He is a recipient of the prestigious Princess Grace Award for Dance 2010. Brett is thrilled to be joining Ballet BC for their 30th anniversary season.

RACHEAL PRINCE Racheal Prince was raised in Wasaga Beach, Ontario and received her early training at the Quinte Ballet School under the direction of Brian Scott. She attended the School of Alberta Ballet’s Pre Professional Program with Murray and Nancy Kilgour and received the prestigious Ali Pourfarrokh scholarship. Racheal began her professional career with the Alberta Ballet Company where she danced for four years. She has performed works

by William Forsythe, Crystal Pite, Itzik Galili, and Lar Lubovitch among many others. Her performance highlights include Jorma Elo’s 1st Flash, Emily Molnar’s In Between Disappearing and Becoming and William Forsythe’s Herman Shmerman. In her spare time, Racheal enjoys working on handmade items for her online store as well as teaching and choreographing. She is excited to be in her 9th season with Ballet BC.

CHRISTOPH VON RIEDEMANN Vancouver-born Christoph von Riedemann began his training at Arts Umbrella under Artemis Gordon and Lynn Sheppard.

During his time there, Christoph worked with James Kudelka, Lesley Telford, Gioconda Barbuto, Crystal Pite, Walter Matteini, Francesca Carotti, Wen Wei Wang, Aszure Barton, Fernando Magadan and Stephen Stropshire.

Christoph has participated in the Banff Summer Dance Program, the Netherlands Dans Theater Summer Intensive and the Movement Invention Project in New York. He is thrilled to be in his 2nd season with Ballet BC and to continue working with the company’s incredible artists.

GILBERT SMALL Born in Baltimore, Maryland, Gilbert Small started his professional ballet training at the age of 10 at the Baltimore School for the Arts.

He has studied at various summer programs, including Dance Theater of Harlem, Nutmeg Conservatory, Miami City Ballet, American Ballet Theater and Springboard Danse Montreal. After graduating from the Baltimore School for the Arts, he continued his studies at the Conservatory of Dance at Purchase College. While at Purchase, Gilbert was given the opportunity to study abroad at the Hogeschool voor Muziek en Dans in Rotterdam, Netherlands. He has also performed with Toronto based ProArte Danza. Prior to joining Ballet BC, Gilbert performed for New York-based Sidra Bell Dance New York. This is his 7th season with Ballet BC.

PETER SMIDA Peter Smida was born and raised in Kingston, Ontario. A former tennis player, Peter studied on scholarship at the Royal Winnipeg Ballet School and graduated in 2007. He also attended summer programs and festivals in Banff and Prague. After working with the Royal Winnipeg Ballet and Ballet Victoria, Peter joined Ballet BC in 2008 and has since had the pleasure

of performing works by Emily Molnar, Jorma Elo, Crystal Pite, Johan Inger and Medhi Walerski, as well as many others.

In addition to his work at Ballet BC, Peter has also worked on independent projects with Donald Sales and has begun choreographing, showing his work at Dances for a Small Stage and the Shadbolt Centre for the Performing Arts.

This is his 8th season with Ballet BC.

KIRSTEN WICKLUND Vancouver-born Kirsten Wicklund studied at Goh Ballet Academy under Choo Chiat and Lin Yee Goh. She toured China with Canada’s Youth Ballet Company, performing principal roles in Giselle, Don Quixote and other classics. Kirsten received scholarships at American Ballet Theatre, Royal Winnipeg Ballet, Boston Ballet, PNB, and Washington Ballet as well as a Vancouver Foundation Arts Study Award and the Vancouver Ballet Society’s Memorial Scholarship. In 2007, she won an artistry award at the Youth America Grand Prix in NY and was the only Canadian in the Top 12 Women.

She has danced with Washington Ballet, participated in Alonzo King’s choreographic workshop, created works for Dances for a Small Stage and collaborated with LUNGE Dance Collective. Most recently, she toured with Rasta Thomas’ Rock the Ballet, dancing the principal female role for the company of male ballet stars. This is Kirsten’s 2nd season with Ballet BC.

TARA WILLIAMSON Tara Williamson, originally from Richmond, BC, trained at the Richmond Academy of Dance. She danced with Alberta Ballet performing roles such as Juliet in Jean GrandeMaître’s Romeo and Juliet, Carabosse in Kirk Peterson’s Sleeping Beauty and Choleric in Balanchine’s Four Temperaments. After 8 years at Alberta Ballet, she worked with Les Ballets Jazz de Montréal. The contemporary repertoire included works by Cayetano Soto, Barak Marshall and Wen Wei Wang. She is thrilled to be home in Vancouver and working with Emily Molnar at Ballet BC for a 2nd season.

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THE COMPANY BALLET BC EMILY MOLNAR

(Artistic Director) Emily Molnar, Artistic Director of Ballet BC since 2009, continues to steer the unique company of 17 dancers into an era of innovation and collaboration.

Named The Globe and Mail’s 2013 Dance Artist of the Year, Molnar is a recipient of the 2015 BC Community Achievement Award and the 2015 YWCA Women of Distinction Award in Art, Culture & Design. She is a graduate of the National Ballet School and a former member of the National Ballet of Canada, a soloist with the Frankfurt Ballet under director William Forsythe, and a principal dancer with Ballet BC. As an internationally respected and critically acclaimed dance artist and choreographer, Molnar has worked and toured extensively throughout Europe, Asia, Mexico, Canada and the U.S. She has created works for Ballet BC, Alberta Ballet, Ballet Mannheim, Ballet Augsburg, Cedar Lake Dance, Pro Arte Danza and Morphoses/The Wheeldon Company, among others. Molnar’s most recent works for Ballet BC include between disappearing and becoming, Aniel, 16 + a room, and RITE, which premiered in May 2015.

Molnar previously participated in The New York City Ballet’s Choreographic Institute where she worked with dancers from The New York City Ballet. She has also worked closely with mentor Margie Gillis through her own solo work, in performing Gillis’Speak and M.Body.7, and in collaborating on Breathing in Bird Bones.

As an active mentor, advocate, and coach, Molnar follows her passion to nurture artists and choreographers, educate and support the research and development of dance and artistic leadership, and explore the role of the artist in society. Molnar currently serves as a Director on the Board of the BC Arts Council, a committee member of the Peter Wall Institute for Advanced Studies Arts Based Initiative and is a

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former member of the Dance Advisory Committee of the Canada Council for the Arts.

In addition to her work with Ballet BC, Molnar is also Artistic Director of Dance at The Banff Centre.

BRANISLAV HENSELMANN

(Executive Director) Branislav Henselmann, Ballet BC’s Executive Director and Chair of Canadian Dance Assembly’s Ballet Companies Standing Council, originally trained as a dancer in Munich, later deepening his studies at conservatory level at Rambert School of Ballet and Contemporary Dance in London.

Branislav joined Ballet BC following his tenure as Executive Producer for the Michael Clark Company in London, where he produced and toured a number of high profile theatrical works and museum commissions world-wide.

Previously, he was the Head of Programming and Learning for DanceEast, a national dance organization overseeing dance development and artistic programming in the East of England, and the Artistic Curator for New York City Ballet’s Choreographic Institute, where he led a wide range of initiatives to promote the development of emerging choreographers involved in new classical choreography.

Branislav holds a Master of Fine Arts degree from New York University. He is a DAAD German Academic Exchange and New York University Dean’s Fellow, and has been recognized as one of Business in Vancouver’s Forty under 40 in 2014.

STIJN CELIS

(Choreographer) Stijn Celis was born in 1964 and is the product of a Belgian father and a Mauritian mother. After living in Zaire (Congo) until 1972, his family moved back to Belgium. Stijn started his dance education in 1980 at the Koninklijke Balletschool in Antwerp.

In 1982 he joined the Royal Ballet of Flanders. During this period he was given a scholarship to attend the Graham school in Florence where he met its founder Martha Graham. In 1986 he joined Zurich Ballet as a demisoloist performing many leading roles.

From 1990 until 1992 he danced with Contemporary Dance Zurich. In 1992 he became a member of Le Ballet du Grand Theatre de Genève and remained there under the direction of Gradimir Pankov until 1996. During this period he started choreographing and in 1997 Mats Ek invited him to choreograph for the opening performance of the Holland Festival. From 1996 to 1997 he danced for the Cullberg Ballet in Stockholm and created Ubiloz Vanila and Fox for the company.

In 1998, at the age of 32, Mr. Celis stopped performing and moved back to Antwerp to study stage design at the Hogeschool voor Dramatische Kunsten where he graduated with the mention “Highest Distinction.” Mr. Celis was the assistant to designers Jan Verzweyveld and Benoit Dujardin. He worked at the Het Zuidelijk Toneel under Ivo van Hove. In the same period he resumed choreographing.

In the following years he created ballets for Ballet Gulbenkian (Lisbon), Les Grands ballets Canadiens (Montreal), Cullberg Ballet (Stockholm), Ballet Nurnberg, Bern Ballet, Cedar Lake (New York), IT danca (Barcelona), Ballet Mainz, Diversions (Cardiff ), Icelandic Dance Company, Sujet a Vif (Festival d’Avignon), Nederlands Dans Theater II (Den Haag) and Ballet Wiesbaden. He also collaborated in opera productions at La Monnaie (Eugene Onegin, staging by Christoph Loy), Nederlandse Reisopera (Ariodante and Freischutz), and Les Rencontres d’Opera Baroque, Bretagne (Le Toi Arthur).

From 2004 until 2007 Mr. Celis was the artistic director of the Ballet des Stadttheater Bern where he created works such as the Rite of Spring for Two Pianos, Swanlake, Les Liaisons Dangereuses, and Dreamplay (in collaboration with Linus Tünstrom)

THE COMPANY BALLET BC to name just a few. Recent projects took him to St- Gallen, Montreal, Gothemburg, and Antwerp. In 2001 in the critic survey of the magazine Tanz International named him most promising young choreographer of that year and his Swanlake in 2006 was named most innovative production.

Stijn Celis recently choreographed Henze’s “Ondine” for Aalto ballet in Essen and has been a short term scholar at the Juilliard School in New York. He has future commissions for the Gothenburg Ballet, Ballet of the Semperoper Dresden, Introdans Holland and Jacobs Pillow.

He has danced works by Valery Panov, George Balanchine, Uwe Scholz, Itzik Galilli, Jiri Kylian, Christopher Bruce, Ohad Naharin, and Mats Ek and has collaborated with artists and directors Paula Rego, Franticek Klossner, Yoshi Oida, Omri Nitzan, Amir Zuabi, Linus Tünstrom, Guy Joosten, Christoph Loy and Imogen Kogge. Stijn Celis currently resides in Montreux, Switzerland.

CRYSTAL PITE

(Choreographer) Canadian choreographer and performer Crystal Pite is a former company member of Ballet British Columbia and William Forsythe’s Ballett Frankfurt.

Pite’s professional choreographic debut was in 1990, at Ballet British Columbia. Since then, she has created over 40 works for companies such as Nederlands Dans Theater I, Cullberg Ballet, Ballett Frankfurt, The National Ballet of Canada, Les Ballets Jazz de Montréal (Resident Choreographer, 2001-2004), Cedar Lake Contemporary Ballet, Ballet British Columbia, and Louise Lecavalier/Fou Glorieux. She has also collaborated with Electric Company Theatre and Robert Lepage. Crystal is Associate Choreographer of Nederlands Dans Theater I and Associate Dance Artist of Canada’s National Arts Centre.

In 2013, Crystal was appointed Associate Artist at Sadler’s Wells, London.

In 2002, she formed Kidd Pivot in Vancouver. Integrating movement, original music, text, and rich visual design, Kidd Pivot’s performance work

is assembled with recklessness and rigour, balancing sharp exactitude with irreverence and risk. The company’s distinct choreographic language—a breadth of movement fusing classical elements and the complexity and freedom of structured improvisation—is marked by a strong theatrical sensibility and a keen sense of wit and invention.

Kidd Pivot tours nationally and internationally, performing such highly-demanded and critically acclaimed works as Dark Matters and Lost Action. Kidd Pivot’s residency at the Künstlerhaus Mousonturm in Frankfurt (2010–2012) provided Pite the opportunity to create and tour her most recent works, The You Show and The Tempest Replica.

Pite is the recipient of the Banff Centre’s Clifford E. Lee Award (1995), the Bonnie Bird North American Choreography Award (2004), and the Isadora Award (2005). Her work has received several Dora Mavor Moore Awards (2009, 2012), and a Jessie Richardson Theatre Award (2006). She is the recipient of the 2008 Governor General of Canada’s Performing Arts Award, Mentorship Program, the 2011 Jacob’s Pillow Dance Award, the inaugural Lola Award in 2012, and the Canada Council’s 2012 Jacqueline Lemieux Prize. Most recently, she received a Laurence Olivier Award (2015) for Outstanding Achievement in Dance.

CAYETANO SOTO

(Choreographer) Born in Barcelona and based in Munich, Cayetano Soto has created work for major companies worldwide.

His technical, high-pitched and unpredictable choreography can be seen at international festivals in Europe, USA and Canada.

Soto started his dance education in Barcelona at the Institut del Teatre and continued his studies at the Koninklijke Conservatorium in The Hague. After receiving his degree in Classical Dance, Soto danced with IT Dansa Barcelona in 1997, before joining Ballet Theater Munich a year later where he created

several successful ballets and one of his first signature pieces, Fugaz.

Since 2005, Soto has worked as a freelance choreographer with Nederlands Dans Theater, Royal Ballet of Flanders, Balé da Cidade de São Paulo, BJM Montréal, Introdans, Introdans voor de Jeugd, Ballet BC, Gauthier Dance Company, Companhia Nacional de Bailado, Perm Opera and Ballet Theater, Národní Divadlo Brno, Aspen Santa Fe Ballet, Tanz Luzern Theater, Ballet Hispanico and Northwest Dance Project in Portland. He also created several ballets with German companies including Stuttgarter Ballet, Staatstheater Braunschweig, Augsburg Ballett, Ballett in Revier, Staatstheater Nürnberg and Ballett Dortmund.

In 2009, he began a continuous collaboration with Aspen Santa Fe Ballet and Introdans voor de Jeugd, creating a number of new ballets. For Ballet Dortmund he created a new full evening version of Carmen. Due to the success in Dortmund, Národní Divadlo Brno in Czech Republic staged Carmen in 2010. Soto also choreographed Dancing Mozart’s mass in c-minor with live orchestra for 4 dancers in the Church of St. Egidean in Nürnberg.

Fascinated by the German American fashion label Talbot Runhof, Soto started to collaborate with the designers in several projects. Talbot Runhof designed the costumes of Carmen for Dortmund Ballet and Soto choreographed a new solo work to present their new collection at the Fashion week in Paris. The costumes of the new creation Sortijas for Ballet Hispanico of New York will be also designed by the duo.

Soto was awarded the First Prize for his ballet 24FPS by the choreographic competition Uncontainable Project 2006 of the Royal Ballet of Flanders.

Canela Fina, commissioned by Bale da Cidade de São Paulo, was awarded as best dance production of 2008 by the Brazilian newspaper Folha de São Paulo.

In 2011, Soto was nominated for the Golden Mask Award in Russia, for his Photos by Michael Slobodian

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Photo by Chris Bennion

AND P12 | WHITE BIRD DANCE NOCHE FLAMENCA

DECEMBER 3–5, 2015 NEWMARK THEATRE

presents

Martín Santangelo ARTISTIC DIRECTOR AND PRODUCER

Presents

“Sombras Sagradas” Featuring

Soledad Barrio & Manuel Gago Salva de Maria Emilio Florido Marina Elana Xianix Barrera Laura Peralta

Artistic Director Martín Santangelo Lighting Designer S. Benjamin Farrar Company Manager Mitchell Dufanal

MEDIA SPONSOR

SPECIAL THANKS… Noche Flamenca would like to thank its funders: National Endowment for the Arts, New England Foundation for the Arts’ National Dance Project, The Harkness Foundation for Dance, The Fan Fox and Leslie R. Samuels Foundation, The Andrew W. Mellon Foundation, the New York State Council on the Arts, The Mary Duke Biddle Foundation

The company also extends its special thanks to: Wendy vanden Heuvel, Etta Brandman, Aurora Santangelo, Frances McDormand, Joel Coen, Annatina Miescher, Mary Frank, Barbara and Donald Tober, Eric Cocco, Lee Breuer, Maude Mitchell, Eric Hoisington, Martin Weschler, Cathy Eilers, The Joyce Theater, Gabriela and Stella for being patient, Hamed Traore, Phil Esparza, Luis Valdez and Kinan Valdez of El Teatro Campesino, Jackie Shue, Patricia Zohn …and our many Friends and individual donors.

The use of photography is prohibited. Please silence your cell phones.

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TONIGHT’S PROGRAM

THE COMPANY NOCHE FLAMENCA

LA PLAZA PERFORMED BY THE COMPANY CHOREOGRAPHY BY MARTÍN SANTANGELO

SOLO DE CANTE PERFORMED BY EMILIO FLORIDO

ENTIERRO (FROM ANTIGONA) PERFORMED BY THE COMPANY CHOREOGRAPHY BY MARTÍN SANTANGELO & SOLEDAD BARRIO

FARRUCA PERFORMED BY THE COMPANY

ZAMBRA CARACOLERA

MARTÍN SANTANGELO (Artistic Director) founded Noche Flamenca. He studied with Ciro, Paco Romero, El Guito, Manolete and Alejandro Granados. He has performed throughout Spain, Japan and North and South America, appearing with Maria Benitez’s Teatro Flamenco, the Lincoln Center Festival of the Arts and Paco Romero’s Ballet Espanol. He also appeared in Julie Taymor’s Juan Darien at Lincoln Center. He choreographed and performed in Eduardo Machado’s Deep Song. He choreographed a production of Romeo and Juliet at the Denver Theater Center. He has directed and choreographed Bodas de Sangre, The Lower Depths, La Celestina, A Streetcar Named Desire, amongst many other productions in Spain and Buenos Aires. Martín has been blessed to have worked with Lee Breuer, Luis Valdez and Jerzy Grotowski. He has collaborated with many, many artists, but his most fulfilling collaboration has been with his wife, Soledad Barrio and his two wild daughters, Gabriela and Stella.

PERFORMED BY MANUEL GAGO

SOLEÁ PERFORMED BY SOLEDAD BARRIO

FIN DE FIESTA PERFORMED BY THE COMPANY CHOREOGRAPHY BY MARTÍN SANTANGELO ALL CHOREOGRAPHY BY MARTÍN SANTANGELO & COMPANY MEMBERS MUSIC BY SALVA DE MARIA VOCAL ARRANGEMENTS BY MANUEL GAGO & EMILIO FLORIDO

Tonight's performance will be performed without intermission. **This program is subject to change** Noche Flamenca’s United States tour and New York Season are supported in part by an award from the National Endowment for the Arts. General Operating support was made possible by the New England Foundation for the Arts with funding from the Doris Duke Charitable Foundation. Support has also been provided by The Harkness Foundation for Dance, The Fan Fox and Leslie R. Samuels Foundation, and the New York State Council on the Arts.

For information on Noche Flamenca and to join our mailing list: www.nocheflamenca.com

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SOLEDAD BARRIO (Dancer) was born in Madrid. She has appeared as soloist with Manuela Vargas, Blanca del Rey, Luisillo, El Guito, Manolete, Cristobal Reyes, and El Toleo, Ballet Espanol de Paco Romero, Festival Flamenco and many other companies. She has performed throughout Europe, Japan and North and South America with such artists as Alejandro Granados, El Torombo, Isabel Bayón, Jesus Torres, Miguel Perez, Belen Maya, Manolo Marin, Javier Barón, Merce Esmeralda, Rafael Campallo, Belen Maya, etc. She has won awards from over 15 different countries around the globe for her excellence in dance. She recently received a “Bessie” award for Outstanding Creative Achievement. She is a founding member of Noche Flamenca and is married to Martín Santangelo. They have two beautiful daughters, Gabriela and Stella.

SALVA DE MARÍA (Guitarist) was born in Madrid. He is the son of Basilio de Cadiz and the singer/dancer Maria Fernandez and grandson of legendary singer Antonio “La Chaqueta”. He began his career in the peña flamenca “Chaqueton” accompanying singers Carmen Linares, José Merce, Vicente Soto, Chaqueton and others. He

moved to Barcelona to work with Maite Martin, La Chana, Guinesa Ortega, and other mythic figures in flamenco. He went on to work with Carmen Cortes and Gerardo Nuñez in the Lorca’s Yerma.

Since 2001 he has collaborated with guitarist Chicuelo, working with artists Miguel Poveda, “La Susi”, Maite Martin Chano Lobato, Israel Galvan, Isabel Bayón, Javier Latorre and “Duquende”.

MANUEL GAGO (Singer) born in Cadiz to a family of flamenco singers, Manuel began singing at the age of five. By fourteen, he was singing in flamenco festivals with such well-known singers as Juan Villar, Charo Lobato and Rancapino. Later, he began singing for dancers, including Joaquin Cortez, Sara Varas, Rafaela Carrasco, Belen Maya, El Guito, Manolete, Javier Baron and Cristobal Reyes. Manuel has traveled the world, singing in Europe, Asia, South America and the United States.

EMILIO FLORIDO (Singer) was born in Cádiz, Spain. He began singing at a young age and performed professionally all over Spain as a solo singer. He has accompanied such dancers as Adrian Galia, Domingo Ortega, Luis Ortega, Belen Maya, Yolanda Heredia, Miguel Angel Espino, among others. He has worked with the companies of Cristina Hoyos, El Ballet de Madrid, and La Raza. He has toured extensively in Japan, South America and Europe.

He has been performing with Noche Flamenca for nearly 14 years.

MARINA ELANA (Dancer) began her studies in Spanish classical dance and flamenco with Adela Clara and continued her training with La Mónica and Yaelisa in the San Francisco Bay Area. In Spain, she studied in Sevilla and Madrid with artists such as Juana Amaya, Yolanda Heredia and Rafaela Carrasco. Marina made her performance debut with Theatre Flamenco of San Francisco, sharing the stage with Pastora Galvan and Jose Anillo. She also appeared with Maria Benitez’s Teatro Flamenco in 2007 in Santa Fe, NM. Marina was a soloist and company member of Caminos Flamencos, where she performed in San Francisco’s premier venues and with artists such as Andres Pena and Miguel Rosendo. She graduated from Stanford University in 2008 with a B.A. in film and Spanish language.

XIANIX BARRERA (Dancer) studied in N.Y. and Spain with various masters including Soledad Barrio, Sonia Olla, Andres Peña, Alicia Márquez, and Concha Vargas. She performed at the South Street Seaport, La Mama, Drom, B.B. King Blues Club, and the F.I.T. Haft Theater. She was awarded a scholarship to attend the 2008 Cultural Traditions Program (Flamenco Dance) at Jacob’s Pillow, taught by Soledad Barrio. In

2010, she completed the advanced program at the Amor de Dios in Madrid.

In 2011, she founded her own flamenco company, Sabor Flamenco, which premiered to a sold out audience at the Poet’s Den Theater in Spanish Harlem.

She has taught master dance workshops for the Joyce Theater, Iona College, and SUNY Purchase.

LAURA PERALTA (Dancer) started her classical music and dance studies at the age of eight. She studied at the Manhattan School of Music for ten years as a piano major and graduated with honors from Johns Hopkins University.

She began her flamenco studies with Omayra Amaya and has performed in New York and throughout the U.S. with companies including Juan Siddi Flamenco Theatre Company in N.M., Flamenco Vivo Carlota Santana in their season at the Joyce Theater, Pasión y Arte in Rosario Toledo’s Cómplices at Jacob’s Pillow. She recently attended master classes in Spain and continues her studies in New York with Soledad Barrio.

S. BENJAMIN FARRAR (Resident Designer & Production Manager) is a freelance designer of scenery, lighting, and projection for live performance.

He has worked in many venues in NYC, including The Public Theater, The Joyce Theatre, The Lortel Theatre, The Cherry Lane Theatre, and The New Victory Theatre. He has designed throughout

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THE COMPANY NOCHE FLAMENCA the U.S. and Canada in venues such as The Majestic Theatre in Boston, White Bird in Portland, The McCarter in Princeton, The Royal Conservatory in Toronto, and The Zellerbach Playhouse in Berkeley. He has also designed for venues in Australia, Mexico, Argentina, Peru, Brazil, England, Scotland, and Switzerland. Benjamin has worked as a guest designer at NYU Gallatin School in New York and Grinnell College in Iowa. He is a graduate of The University of Iowa and Vanderbilt University.

PHOTO BY ANDRES D'ELIA

MITCHELL DUFANAL (COMPANY MANAGER & ADMINISTRATIVE COORDINATOR) was born and raised in New York City and earned his Master of Science degree in Urban Policy Analysis and Management at the Milano School of International Affairs, at The New School University in New York City. Mitchell has since worked as a grant and funding consultant for non-profit organizations, including the New York Child & Family Support Services and La Casita Comunal de Sunset Park. Mitchell is excited to be the new company manager for Soledad Barrio and Noche Flamenca, combining his passion for nonprofit work with his love of the arts.

A BRIEF HISTORY OF FLAMENCO The precarious conditions of the Andalucian singer of the past made it inevitable that he/she should dwell on the more tragic aspects of existence. Even though conditions are now incomparably better, the feelings inherent in the cante are universal and timeless and represent a link between past and present.

Andalucia, the region of southern Spain, which is flamenco’s home, has a strong musical tradition documented from ancient times and flamenco takes its place in that heritage. Throughout the centuries, Andalucia absorbed peoples of different cultures and backgrounds, including Romans, Jews, and Moors. Perhaps the most significant arrival was in the 15th century when tribes of nomadic Gypsies settled in southern Spain, coinciding with Ferdinand and Isabella’s conquest of Granada, the last bastion of the Moors, and the subsequent expulsion of Jews and Arabs from Spain.

Historian Felix Grande, writing about life in the 15th-17th centuries stated: “The Jews were massacred, the Gypsies humiliated and persecuted, the Arabs exterminated, the Moriscos (converted Arabs) expelled, and the Andalucians generally exploited... if we do not relate the music...to brutality, repression, hunger, fear, menace, inferiority, resistance, and secrecy, then we shall not find the reality of cante flamenco...it is a storm of exasperation and grief.” It was against this background that flamenco evolved.

While earlier records suggest that flamenco was at one time unaccompanied, it is hard for us today to imagine flamenco without a guitar. In effect, the guitar forms an integral part of the song; singer and guitarist are one creating the cante. The different types of cante provide the basis for all flamenco guitar playing. Most of the cante has an underlying rhythmic structure which must be strictly adhered to-the compás. One of flamenco’s chief characteristics is the complex syncopation against the compás, with the cante being sung almost entirely off the beat and the guitarist maintaining the rhythm, adding further to the syncopation.

In some forms, like the cante libre (free song), the compás is less apparent, but the singer may break into an established rhythm, which the guitarist then has to follow. Indeed, the singer is at liberty to improvise, whether the toque (guitar playing) is free or in compás, and the guitarist may not know beforehand what is to be expected of him.

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There is no evidence that the guitar was initially used to accompany the cante, and even today some of the most dramatic forms of cante are invariably performed unaccompanied. However, it was certainly in regular use by the end of the 19th century in Spain. The lute was extremely popular in the rest of Europe during the Renaissance, but was rejected in Spain as a foreign intrusion since it was of Arab origin. Furthermore, the vihuela (the guitar’s predecessor) was more suited to the accompaniment of ballads by strumming, since the lute requires notes to be picked more delicately. It was also cheaper to produce and more robust.

In the 19th century, there were two types of singing in Andalucia: the cante gitano of the Gypsies and the cante andaluz.

Silverio Franconetti, an Andaluz of Italian origin and an exceptional singer of Gypsy styles, was the first to bring these two styles together. This integration of both forms resulted in the cante flamenco.

The wail of the cante jondo (deep song) resembles the mournful chant of the exiled Sephardic Jews. Its poetry has the existentialist angst and philosophical questioning common in Arabic poetry.

The dance, which evolved slowly, fully blossoming in the 1840’s, suggests the repetitive key symbol prevalent in Islam, the trance inducing rhythms of Africa, and the stubborn search of Jewish music.

Flamenco developed rapidly, gaining in artistic stature as well as popularity.

Establishments appeared throughout Andalucia and beyond, dedicated wholly to the performance of flamenco. They came to be known as cafes cantantes, coffee theatres, where refreshment could be enjoyed while watching the performance. Although some of them survived until the middle of the 20th century, their heyday was past by the 1920’s. Generally they were like cabaret theaters, with as many as four shows a day.

Dance has always been associated with flamenco. It is difficult to imagine this music without movement. While sophisticated flamenco dance companies have been touring the world for more than 50 years, it is the raw unchoreographed dances of Andalucian Gypsies that has maintained the art form in its most creative essence