The Stuttgart Ballet Onegin
OPERA HOUSE
OCTOBER 8–12, 2025
The John F. Kennedy Center for the Performing Arts presents
The Stuttgart Ballet
Founder: John Cranko † Artistic Director: Tamas Detrich
DANCERS
Rocio Aleman Elisa Badenes Mackenzie Brown (a.g.) Miriam Kacerova
Anna Osadcenko Daiana Ruiz Henrik Erikson Gabriel Figueredo
Matteo Miccini David Moore Martí Paixà Jason Reilly
Adhonay Soares da Silva Friedemann Vogel
Mizuki Amemiya Diana Ionescu Veronika Verterich Abigail Willson-Heisel
Fabio Adorisio Ciro Ernesto Mansilla Martino Semenzato Satchel Tanner
Priscylla Gallo Vittoria Girelli Aiara Iturrioz Rico Fernanda Lopes
Aoi Sawano Ruth Schultz Alicia Torronteras Irene Yang
Riccardo Ferlito Lassi Hirvonen Christopher Kunzelmann
Adrian Oldenburger Dorian Plasse Edoardo Sartori Daniele Silingardi
María Andrés Betoret Ava Arbuckle Lily Babbage Katharina Buck
Elisabetta Fasoglio Julliane Franzoi Farrah Hirsch Eva Holland-Nell
Annalee Melton Florencia Paez Paula Rezende Joana Romaneiro Kirn
Natalie Thornley-Hall Noan Alves Emanuele Babici Jamie Constance
Joaquin Gaubeca Macéo Gérard Peter Hull Leon Metelsky
Mitchell Millhollin James Platts Anton Tcherny
Vincent Travnicek Serhii Zharikov
Apprentices: Sonja Bräunl Anya Donaghy Annabelle McCarthy Isabela Souza
Doga Taskaya Edoardo Russo Andrew Shields
Carter Smalling Carlos Strasser
Artist in Residence: Roman Novitzky
Principal Ballet Masters: Elizabeth Toohey Rolando D’Alesio
Ballet Masters: Marc Ribaud Wolfgang Stollwitzer
Choreologist: Birgit Deharde
Assistant Ballet Master and Choreologist: Clemens Fröhlich
Ballet Master for Extras and Children: Angelika Bulfinsky
Chief Conductor: Wolfgang Heinz
Conductor: Nathanaël Carré
Leading Repetitor: Chie Kobayashi
Pianists: Alastair Bannerman Raúl Rodríguez Bey Valery Laenko
THANK YOU TO OUR SPONSORS
Fred Eychaner Fund C. Michael Kojaian Suzanne L. Niedland
William J. Caldwell and Michele Toth
Patrons are requested to turn off cell phones and other electronic devices during the performance. Any video and/or audio recording of this production is strictly prohibited.
The Program
WEDNESDAY EVENING, OCTOBER 8, 2025, AT 7:30 P.M.
Onegin
Ballet by JOHN CRANKO
Based on the novel in verse by ALEXANDER PUSHKIN
Choreography by JOHN CRANKO
Music by PETER I. TCHAIKOVSKY
Arranged and orchestrated by KURT-HEINZ STOLZE
Sets and Costumes by JÜRGEN ROSE
World Premiere: April 13, 1965, Stuttgart
Premiere of the revised version: October 27, 1967, Stuttgart
Onegin FRIEDEMANN VOGEL
Lenski, Onegin’s friend GABRIEL FIGUEREDO
Madame Larina, a widow SONIA SANTIAGO
Tatiana, her daughter ELISA BADENES
Olga, her daughter MACKENZIE BROWN
Their Nurse MAGDALENA DZIEGIELEWSKA
Prince Gremin, a friend of the Larina family JASON REILLY
Neighbors and relatives of Madame Larina/ Guests of Prince Gremin in St. Petersburg Corps de ballet
Conductor WOLFGANG HEINZ
There will be two intermissions.
Casting is subject to change.
The Program
THURSDAY EVENING, OCTOBER 9, 2025, AT 7: 30 P.M.
Onegin
Ballet by JOHN CRANKO
Based on the novel in verse by ALEXANDER PUSHKIN
Choreography by JOHN CRANKO
Music by PETER I. TCHAIKOVSKY
Arranged and orchestrated by KURT-HEINZ STOLZE
Sets and Costumes by JÜRGEN ROSE
World Premiere: April 13, 1965, Stuttgart
Premiere of the revised version: October 27, 1967, Stuttgart
Onegin DAVID MOORE
Lenski, Onegin’s friend HENRIK ERIKSON
Madame Larina, a widow SONIA SANTIAGO
Tatiana, her daughter ROCIO ALEMAN
Olga, her daughter VERONIKA VERTERICH
Their Nurse MAGDALENA DZIEGIELEWSKA
Prince Gremin, a friend of the Larina family ROMAN NOVITZKY
Neighbors and relatives of Madame Larina/ Guests of Prince Gremin in St. Petersburg Corps de ballet
Conductor WOLFGANG HEINZ
There will be two intermissions.
Casting is subject to change.
The Program
FRIDAY MATINEE, OCTOBER 10, 2025, AT 1:30 P.M.
Onegin
Ballet by JOHN CRANKO
Based on the novel in verse by ALEXANDER PUSHKIN
Choreography by JOHN CRANKO
Music by PETER I. TCHAIKOVSKY
Arranged and orchestrated by KURT-HEINZ STOLZE
Sets and Costumes by JÜRGEN ROSE
World Premiere: April 13, 1965, Stuttgart
Premiere of the revised version: October 27, 1967, Stuttgart
Onegin JASON REILLY
Lenski, Onegin’s friend ADHONAY SOARES DA SILVA
Madame Larina, a widow SONIA SANTIAGO
Tatiana, her daughter ANNA OSADCENKO
Olga, her daughter DIANA IONESCU
Their Nurse ANGELIKA BULFINSKY
Prince Gremin, a friend of the Larina family FABIO ADORISIO
Neighbors and relatives of Madame Larina/ Guests of Prince Gremin in St. Petersburg Corps de ballet
Conductor WOLFGANG HEINZ
There will be two intermissions. Casting is subject to change.
The Program
FRIDAY EVENING, OCTOBER 10, 2025, AT 7:30 P.M.
Onegin
Ballet by JOHN CRANKO
Based on the novel in verse by ALEXANDER PUSHKIN
Choreography by JOHN CRANKO
Music by PETER I. TCHAIKOVSKY
Arranged and orchestrated by KURT-HEINZ STOLZE
Sets and Costumes by JÜRGEN ROSE
World Premiere: April 13, 1965, Stuttgart
Premiere of the revised version: October 27, 1967, Stuttgart
Onegin FRIEDEMANN VOGEL
Lenski, Onegin’s friend GABRIEL FIGUEREDO
Madame Larina, a widow SONIA SANTIAGO
Tatiana, her daughter ELISA BADENES
Olga, her daughter MACKENZIE BROWN Their Nurse MAGDALENA DZIEGIELEWSKA
Prince Gremin, a friend of the Larina family MARTINO SEMENZATO*
Neighbors and relatives of Madame Larina/ Guests of Prince Gremin in St. Petersburg Corps de ballet
Conductor NATHANAËL CARRÉ
*Role debut
There will be two intermissions.
Casting is subject to change.
The Program
SATURDAY MATINEE, OCTOBER 11, 2025, AT 1:30 P.M.
Onegin
Ballet by JOHN CRANKO
Based on the novel in verse by ALEXANDER PUSHKIN
Choreography by JOHN CRANKO
Music by PETER I. TCHAIKOVSKY
Arranged and orchestrated by KURT-HEINZ STOLZE
Sets and Costumes by JÜRGEN ROSE
World Premiere: April 13, 1965, Stuttgart
Premiere of the revised version: October 27, 1967, Stuttgart
Onegin DAVID MOORE
Lenski, Onegin’s friend HENRIK ERIKSON
Madame Larina, a widow SONIA SANTIAGO
Tatiana, her daughter ROCIO ALEMAN
Olga, her daughter ABIGAIL WILLSON-HEISEL* Their Nurse ANGELIKA BULFINSKY
Prince Gremin, a friend of the Larina family ROMAN NOVITZKY
Neighbors and relatives of Madame Larina/ Guests of Prince Gremin in St. Petersburg Corps de ballet
Conductor WOLFGANG HEINZ
*Role debut
There will be two intermissions.
Casting is subject to change.
The Program
SATURDAY EVENING, OCTOBER 11, 2025, AT 7:30 P.M.
Onegin
Ballet by JOHN CRANKO
Based on the novel in verse by ALEXANDER PUSHKIN
Choreography by JOHN CRANKO
Music by PETER I. TCHAIKOVSKY
Arranged and orchestrated by KURT-HEINZ STOLZE
Sets and Costumes by JÜRGEN ROSE
World Premiere: April 13, 1965, Stuttgart
Premiere of the revised version: October 27, 1967, Stuttgart
Onegin JASON REILLY
Lenski, Onegin’s friend ADHONAY SOARES DA SILVA
Madame Larina, a widow SONIA SANTIAGO
Tatiana, her daughter ANNA OSADCENKO
Olga, her daughter DIANA IONESCU
Their Nurse ANGELIKA BULFINSKY
Prince Gremin, a friend of the Larina family FABIO ADORISIO
Neighbors and relatives of Madame Larina/ Guests of Prince Gremin in St. Petersburg Corps de ballet
Conductor NATHANAËL CARRÉ
There will be two intermissions.
Casting is subject to change.
The Program
SUNDAY MATINEE, OCTOBER 12, 2025, AT 1:30 P.M.
Onegin
Ballet by JOHN CRANKO
Based on the novel in verse by ALEXANDER PUSHKIN
Choreography by JOHN CRANKO
Music by PETER I. TCHAIKOVSKY
Arranged and orchestrated by KURT-HEINZ STOLZE
Sets and Costumes by JÜRGEN ROSE
World Premiere: April 13, 1965, Stuttgart
Premiere of the revised version: October 27, 1967, Stuttgart
Onegin FRIEDEMANN VOGEL
Lenski, Onegin’s friend MATTEO MICCINI
Madame Larina, a widow SONIA SANTIAGO
Tatiana, her daughter ELISA BADENES
Olga, her daughter VERONIKA VERTERICH
Their Nurse MAGDALENA DZIEGIELEWSKA
Prince Gremin, a friend of the Larina family JASON REILLY
Neighbors and relatives of Madame Larina/ Guests of Prince Gremin in St. Petersburg Corps de ballet
Conductor WOLFGANG HEINZ
There will be two intermissions.
Casting is subject to change.
Synopsis
Act I
Scene One: Madame Larina’s garden
Madame Larina, her daughter Olga, and the nurse are sewing the party dresses for Tatiana’s birthday and gossiping about the upcoming festivities. Madame Larina speculates on her daughters’ futures. Girls from the neighborhood arrive and play an old folk game: whoever looks into the mirror will see her beloved. Lensky, a young poet engaged to Olga, arrives with a friend from St. Petersburg. He introduces Onegin, who, bored with the city, has come to see if the country can offer him any distraction. Tatiana, full of youthful and romantic fantasies, falls in love with the elegant stranger, so different from the country people she knows. Onegin, on the other hand, sees only a coltish girl who reads too many romantic novels.
Scene Two: Tatiana’s bedroom
Tatiana, her imagination aflame with impetuous first love, dreams of Onegin. She writes him a passionate love letter which she gives to her nurse to deliver.
Act II
Scene One: Tatiana’s birthday
The provincial gentry have come to celebrate Tatiana’s birthday. Onegin finds the company boring. Stifling his yawns, he finds it difficult to be civil; furthermore, he is irritated by Tatiana’s letter which he regards merely as an outburst of adolescent love. In a quiet moment, he seeks out Tatiana and, telling her that he cannot possibly love her, destroys her letter. Tatiana’s distress, instead of awaking pity, merely increases his annoyance.
Prince Gremin, a distant relative of Madame Larina’s, joins the party. He is in love with Tatiana, and Madame Larina hopes for a brilliant match; but Tatiana, troubled her own heart, hardly notices her kind relative.
In his boredom, Onegin decides to provoke Lensky by flirting with Olga, who lightheartedly joins in the teasing. Lensky takes the matter to heart and challenges Onegin to a duel.
Scene Two: The duel
Tatiana and Olga try to reason with Lensky, but his high romantic ideals have been shattered by the betrayal of his friend and the fickleness of his beloved; he insists that the duel take place. Before Tatiana’s eyes, Onegin kills his friend.
Synopsis
Act III
Scene One: St. Petersburg
Years later, Onegin, having travelled the world in an attempt to escape from his own futility, returns to St. Petersburg. He is received at a ball in the palace of Prince Gremin. Gremin has married, and Onegin is astonished to recognize in the stately and elegant princess, Tatiana, the uninteresting little country girl whom once he rejected. The enormity of his mistake and loss engulfs him. His life now seems even more aimless and empty.
Scene Two: Tatiana’s boudoir
Onegin has written to Tatiana revealing his love and asking to see her, but she does not wish to meet him. In vain, she pleads with her unsuspecting husband not to leave her alone this evening. Onegin arrives and declares his love for her. In spite of her emotional turmoil, Tatiana realizes that Onegin’s change of heart has come too late. Before his eyes, she tears up his letter and orders him to leave her forever.
Onegin
John Cranko’s Onegin has become a modern ballet classic and has been performed by almost every major company in the world—in Moscow, New York, London, and Paris. In 1965, however, it was not so easy for the choreographer to bring this material to the stage. Alexander Pushkin’s novel in verse is considered a holy work of Russian national literature, and there was some opposition to it being made into “dance entertainment.” At the time when Onegin was created, new full-legnth “stage-fillers” were still generally based on fairy tales or legends; Cranko created one of the first ballets based on world literature.
His Onegin moves the acting strongly into the foreground; here, the plot does not simply serve as a framework upon which to hang a wealth of solo variations, pas de deux, and divertissements, but instead it develops as a psychological drama. Instead of stylised archetypes, we see living people: Tatiana is not the reward for the prince at the end, but a married woman who doubts her marriage. It is no wonder that the roles of Tatiana and Onegin are seen as a highlight in the careers of many dancers. The role of the eponymous hero Onegin, especially, offers a complex challenge for male dancers: noble and arrogant, internally conflicted, and at the end, full of passion.
Cranko translates language into dance movement. He abolishes the hitherto prevailing sequence of narrative pantomime and plotless dance numbers, and develops the action directly through dance. Everything is clearly portrayed, and one can understand the story simply by watching it. Recurring themes, such as Tatiana’s mirror, run through the three acts, as well as certain characterising movements. Although the piece focuses heavily on its four main protagonists, the corps de ballet also plays an important role. Group scenes evolve from the impetuous rural youth to the bourgeois party and its waltzes and mazurkas, to the cool, aristocratic society of Saint Petersburg—in a sense, the group ages with the protagonists. Jürgen Rose’s elaborate designs and elegant costumes complement Cranko’s story perfectly, from the tender green of the rural birch forests to the bold colours of Saint Petersburg.
Originally, Cranko had wanted to use music from Peter Tchaikovsky’s opera Eugene Onegin. In the end, he commissioned a new score from his Stuttgart conductor, KurtHeinz Stolze, who interwove orchestrated piano works, symphonic poems, and tunes from unknown operas by Tchaikovsky into a dramatic ballet score. The structure of the ballet follows the opera libretto, but with Cranko, Tatiana moves further into center stage: the final image of a desperate woman clenching her fists in emotional agony made Cranko’s muse, Marcia Haydée, into an international star, and after a performance of Onegin in New York in 1969, the company was dubbed the “Stuttgart Ballet Miracle,” a title it still holds today.
By: Angela Reinhardt
(From German: Steve White)
On the Orchestration
John Cranko’s ballet Onegin is linked to Peter Tchaikovsky’s opera Eugene Onegin solely through Alexander Pushkin’s novel in verse. The ballet does not use a bar of music from Tchaikovsky’s opera. Instead, I selected, and in most cases orchestrated, music from several of his lesser-known works. My task as musical arranger was to underlay the dramatic plot with music structured in larger forms that would be suitable for dancing. Tchaikovsky’s piano compositions, from volumes 51 to 53 of the complete collection, make up about three quarters of the ballet. The ballet includes music from the piano cycle op. 37, The Seasons, and the opera Oxana’s Caprices, from which two arias, a chorus, and several instrumental numbers were used. A duet from Romeo and Juliet became the prelude to the main theme in Tatiana’s and Onegin’s Act I pas de deux, while the middle section of the symphonic poem Francesca da Rimini makes up most of the pas de deux in Act 3. The group dances—waltzes, mazurka, polonaise etc.—were mainly drawn from piano compositions. To maintain the dramatic structure of the piece, some themes are used as leitmotifs, returning in harmonically and rhythmically altered forms. Some scenes feature variations on previous themes. By linking and combining individual pieces into larger sections, the work deviates from the structure of a typical narrative ballet. It was important to me not to deviate too far from Tchaikovsky’s orchestral writing in the orchestration, but at the same time to avoid too much tutti in the score. In keeping with the plot, which in Onegin is carried almost exclusively by the main characters, it seemed appropriate to treat the orchestra more as a chamber ensemble than is usual in Tchaikovsky’s ballets, and to reserve the use of the full orchestra for the dramatic climaxes and endings to acts.
Kurt-Heinz
Stolze
Meet the Artists
John Cranko
Choreographer/Director of the Stuttgart Ballet 1961–1973
John Cranko was born on August 15th, 1927, in Rustenburg, South Africa. He received his dance education mainly at the University of Cape Town, where he also choreographed his first ballet to Stravinsky’s Suite from The Soldier’s Tale. In 1946, he continued his studies at the Sadler’s Wells School in London and shortly afterwards became a member of the Sadler’s Wells Ballet (subsequently the Royal Ballet). In 1947, Cranko made an acclaimed choreography to Debussy’s Children’s Corner for the Sadler’s Wells Ballet; from 1949 on, he devoted himself exclusively to choreography, producing extremely successful ballets mostly for the Sadler’s Wells Ballet. In 1955, he choreographed La Belle Hélène for the Paris Opera Ballet and in 1957, he created his first full-length ballet, The Prince of the Pagodas, for the Royal Ballet. In 1961, John Cranko was appointed ballet director in Stuttgart by Walter Erich Schaefer, the General Director of the Wuerttemberg State Theatre (today’s Stuttgart State Theater).
At the beginning of his time in Stuttgart, Cranko created short ballets and gathered together a group of dancers, among them Ray Barra, Egon Madsen, Richard Cragun, Birgit Keil and, most importantly, a young Brazilian dancer named Marcia Haydée who was to become his prime muse and inspiration. The breakthrough for Cranko came in December 1962 with the world premiere of Romeo and Juliet, which was highly praised by critics and audience
alike. In Stuttgart, Cranko created many small choreographic jewels such as Jeu de cartes and Opus I, as well as his symphonic ballet Initials R.B.M.E., but it was with his dramatic story ballets—such as Onegin, The Taming of the Shrew, Poème de l’Extase and Traces—that Cranko secured his place in the pantheon of great choreographers. In addition, he encouraged young dancers in his company—including Jiří Kylián and John Neumeier—to try their hand at choreography.
Cranko’s gift for nuanced story-telling, clear dramatic structure and his exquisite mastery of the art of the pas de deux captivated New York audiences during a triumphant season at the Metropolitan Opera in 1969. Worldwide acclaim soon followed, as Cranko and his young company toured the globe.
Cranko’s vision to establish a ballet school in Stuttgart where talented young dancers would be trained in close contact with the company became reality ten years after his arrival in Stuttgart. The John Cranko School, named after its founder in 1974, was officially opened on December 1, 1971, and was the first school in West Germany to offer a complete education in classical dance recognized with a state diploma. Today, the majority of the company’s dancers are graduates of the John Cranko School.
John Cranko died unexpectedly at age 45 on June 26, 1973, on a return flight from a successful U.S.A. tour. In his 12 short years as a director, he laid the foundation for what was to become one of the world’s leading ballet companies, a company with a tremendously diverse repertory and world class dancers.
Meet the Artists
Jürgen Rose
Sets and costumes
Jürgen Rose, a native of Germany, studied at the Art Academy and the Theater Design School in Berlin. In 1959, he had his first engagement as stage designer and actor in Ulm. In 1961, he met John Cranko, who commissioned him to design the sets and costumes for his production of Romeo and Juliet. Following this success, they worked together in Stuttgart on productions such as Swan Lake, Firebird, Onegin, Initials R.B.M.E., Poème de l´extase, Traces, and the operetta The Merry Widow. In 1972, Rose began a collaboration with John Neumeier, with whom he has worked on the production of nine ballets including The Lady of the Camellias. In 1987, Rose designed sets and costumes for Marcia Haydée´s The Sleeping Beauty. In addition to his designs for ballet, Jürgen Rose is an internationally acclaimed designer for opera and theatre and has worked in, among others, Hamburg, Berlin, Munich, Stuttgart, Vienna, Salzburg, Bayreuth, Milan, New York, and London, creating over 250 designs for diverse productions. He designed the sets and costumes for the Stuttgart Ballet’s new production of Kenneth MacMillan’s Mayerling in 2019, followed by Edward Clug’s new production of The Nutcracker after E.T.A. Hoffmann in 2022.
Kurt-Heinz Stolze
Musical arrangement and orchestration
Kurt-Heinz Stolze was born 1926 in Hamburg and studied piano, organ and conducting with Wilhelm BrücknerRüggeberg at the conservatory in Hamburg.
His first engagement was as Kapelmeister and répétiteur at the Royal Opera in Copenhagen. In 1957 he started working as opera and ballet répétiteur in Stuttgart. In the following years, he increasingly concentrated on ballet music and became John Cranko’s closest musical adviser. He conducted many ballets, including Swan Lake, arranged Vivaldi’s concert cycle L’estro armonico for Cranko and orchestrated and arranged the music for Cranko’s Onegin after motifs from Peter Tchaikovsky’s complete works. He also worked for radio and film. In 1969, he arranged and orchestrated the music for Cranko’s The Taming of the Shrew after music by Domenico Scarlatti. That same year he joined the Stuttgart Ballet on its first tour to the U.S.A. He died in 1970 in Munich.
Tamas
Detrich Artistic Director
Born in New York, Tamas Detrich is an American of Hungarian descent. He received his initial training at the National Academy of Ballet and Theater Arts, then with David Howard at the Harkness House of Ballet in New York and finally at the John Cranko School in Stuttgart from which he graduated in 1977.
In the same year he joined the Stuttgart Ballet where his technical and dramatic abilities were quickly rewarded. He was promoted to soloist in 1980 and principal dancer in 1981. During his 25 years with the company, he has danced all the leading roles of John Cranko’s ballets and enraptured audiences around the world with his portrayals of Prince Siegfried in Swan Lake, Romeo in Romeo and Juliet, Onegin and Lenski in Onegin and Petrucchio in The Taming of the Shrew Furthermore he danced Armand Duval in The Lady of the Camellias (John Neumeier), leading roles in The Song of the Earth and Requiem (Sir Kenneth MacMillan), Arena and Voluntaries (Glen Tetley), La Sylphide (Peter Schaufuss) as well as in ballets by some of the most significant choreographers of the 20th century: George Balanchine, Maurice Béjart, Hans van Manen, William Forsythe, and Uwe Scholz.
The following choreographers have created roles for him: Jiří Kylián (Forgotten Land, Stepping Stones), Uwe Scholz (Variation -I), Maurice Béjart (Operette) and David Bintley (Landscape and Memory). Marcia Haydée created the roles of Prince Désiré in The Sleeping Beauty and Albrecht in Giselle and the Wilis for him.
In addition, Tamas Detrich was highly esteemed as a guest dancer performed at major opera houses around the world, including the Bolshoi Theatre (Moscow), Teatro Colon (Buenos Aires), Metropolitan Opera (New York), Paris Opera and the Mariinsky Theatre (St. Petersburg).
At the beginning of the 2001-02 season, Tamas Detrich became a Ballet Master of the Stuttgart Ballet. In 2004 Artistic Director Reid Anderson appointed Tamas
Detrich Artistic Associate of the Stuttgart Ballet, in 2009 he was appointed Associate Artistic Director of the Stuttgart Ballet. Tamas Detrich has taught, staged and revived John Cranko’s ballets for the Stuttgart Ballet and other companies such as the Paris Opera Ballet, the Vienna State Ballet, American Ballet Theatre as well as in Budapest and Stockholm. He has also staged John Neumeier’s A Streetcar Named Desire for the Hamburg Ballet, Norwegian National Ballet in Oslo and Pittsburgh Ballet Theatre as well as Neumeier’s Othello for the Stuttgart Ballet. In addition, he has staged Marcia Haydée’s Sleeping Beauty for the Royal Ballet of Flanders and Kenneth MacMillan’s Song of the Earth for the Ballet de Santiago de Chile.
In July 2015, the Board of Directors of the State Theater Stuttgart voted unanimously to appoint Tamas Detrich Artistic Director of the Stuttgart Ballet as of September 2018. In his years at the company’s helm, he has continued to promote Cranko’s repertoire in Stuttgart and abroad and has mounted over 35 new works from leading choreographers. He has brought full-length productions to Stuttgart, including Kenneth MacMillan’s Mayerling, the world premiere of Edward Clug’s The Nutcracker, and John Neumeier’s Anna Karenina. He promotes emerging choreographers from within the company, has introduced platforms for new works such as the CREATIONS evenings in Stuttgart’s Schauspielhaus, and has led the company on successful international tours throughout Europe, Asia, and the United States.
Principal Dancers
Rocio Aleman from Mexico
with the Stuttgart Ballet since 2011
Mackenzie Brown (a.g.) from the U.S.
with the Stuttgart Ballet since 2020
Anna Osadcenko from Kazakhstan
with the Stuttgart Ballet since 2001
Elisa Badenes ° from Spain
with the Stuttgart Ballet since 2009
Henrik Erikson from Sweden
with the Stuttgart Ballet since 2018
Miriam Kacerova from Slovakia
with the Stuttgart Ballet since 2005
Daiana Ruiz from Argentinia
with the Stuttgart Ballet since 2016
Gabriel Figueredo from Brasil
with the Stuttgart Ballet since 2019
Principal Dancers
Matteo Miccini from Italy
with the Stuttgart Ballet since 2015
Martí Paixà from Spain
with the Stuttgart Ballet since 2015
Adhonay Soares da Silva from Brasil
with the Stuttgart Ballet since 2015
David Moore from Great Britain
with the Stuttgart Ballet since 2007
Jason Reilly ° from Canada
with the Stuttgart Ballet since 1997
Friedemann Vogel ° from Germany
with the Stuttgart Ballet since 1998
Kammertänzer / Kammertänzerin
The Stuttgart Ballet Staff
Administrative Director ������������������������������������������������������������������������������������������������� Annabelle Gausmann
Director of Production and Ballet Master
Krzysztof Nowogrodzki
Personal Assistant to the Artistic Director���������������������������������������������������������������������������� Fränzi Günther
Assistant to the Administrative Director������������������������������������������������������������������Christine Baumgärtner
Scheduling Coordinator and Assistant to the Director of Production ������������������������������������Meriel Wille
Head of Dramaturgy and Publications
Publications
Public Relations Manager
Communication and Marketing
Special Events and Merchandising
Lucy Van Cleef
Pia Christine Boekhorst
Jennifer Schurr
Alexandra Aschenbrenner
Markus Bözel Communications Sina Eger
Working Student Communications Noelle Güttinger
Project Management Noverre: Young Choreographers Sonia Santiago Head of Stuttgart Ballet Young+
Stage Managers
Physiotherapy
Ballet Shoe Supervisor
Head of Photography and Video
Assistant Video Department
Loesaus
Matteo Crockard-Villa, Janis Vollert
Matthias Knop (Head), Raúl Ferragud Del Campo
Magdalena Dziegielewska
Roman Novitzky
Dora Detrich Honorary Members �������������Marcia Haydée, Georgette Tsinguirides, Reid Anderson, Richard Cragun †
State Theatre Stuttgart
Managing Director State Theatre Stuttgart
Technical Director Opera and Central Technical Services
Technical Director Opera and Ballet
Head of Production Crew Ballet
Marc-Oliver Hendriks
Laudel
Michael Zimmermann
Cemile Soylu Stage Technicians ������������������������ Pasquale Citrea, Dragisa Djukanovic, Marius Möller, Matthias Reiner Senja Salinski Assmann, Tilo Schröter, Marcel Schwarz, Verena Seerig
Director of Lighting Ballet
Valentin Däumler
Chief Electrician ��������������������������������������������������������������������������������������������������������������������Clemens Gorzella
Lighting Technicians�������������������������������� Carolin Hochstein, Simon Mennel, Jens Volpp, Lennart Wutz Director of Sound Engineering
Nikolaos Lazarakopoulos
Sound Technician Jaroslawa Razmowa
Head of Scenic Workshops Bernhard Leykauf
Head of Property Stephanie Schlienz
Property Masters Jens Rank, Volker Stroebel
Director of Costume Department
Costume Production Managers Ballet
Costume Production Assistant
Costume Assistant Ballet
Head of Wardrobe
Dressers
Interim Head of Make-up
Acting Head of Make-up
Make-up Artist
Sabrina Heubischl
Diana Eckmann, Nicole Krahl
Leonie Bittermann
Josephin Kreißl
Anke Krahn, Gabriella Scholl
Gisela Fluhr, Karin Jaschko, Susanne Klein, Jasmin Nicklis, Daniel Welz, Tomas Werner
Heubischl, Bernhard Leykauf
Jenny Drechsler, Barbara Klein, Mareike Wohlfeld
Marja Bartels, Simone Göhrig, Isabel Hellstern, Hendrick Jarck, Samira Rädcher, Andrea Trinder, Andrea Weyh
Kennedy Center Opera House Orchestra
ROBERT SPANO, MUSIC DIRECTOR
VIOLIN I
Oleg Rylatko, Concertmaster
Eric Lee, Associate Concertmaster
Ko Sugiyama, Assistant Concertmaster
Zino Bogachek+
Michelle Kim
Karen Lowry-Tucker
Susan Midkiff
Anne Donaldson*
Hanbing Jia*
Sara Matayoshi*
VIOLIN II
Kayla Moffett, Principal
Najin Kim, Assistant Principal
Richard Chang+
Xi Chen
Jessica Dan Fan
Martha Kaufman
Timothy Macek
Victoria Noyes
VIOLA
Allyson Goodman, Principal
Johanna Nowik, Assistant Principal
Philippe Chao+
Leon Neal
Elizabeth Pulju-Owen
Uri Wassertzug
CELLO
Amy Frost Baumgarten, Principal
Danielle Cho, Assistant Principal
Ignacio Alcover+
Alastair Eng
Kristen Wojcik
Igor Zubkovsky
BASS
Robert D’Imperio, Principal
Frank Carnovale, Assistant Principal
Edgardo Malaga*
FLUTE
Adria Sternstein Foster, Principal
Stephani Stang-Ferry, Assistant Principal
Sandra del Cid-Davies
PICCOLO
Sandra del Cid-Davies
OBOE
Igor Leschishin, Principal
Emily Tsai, Assistant Principal^
Daniel Bates*
ENGLISH HORN
Vacant
CLARINET
David Jones, Principal
Sara Han, Assistant Principal
Ashley Booher^
BASS CLARINET
Ashley Booher^
BASSOON
Joseph Grimmer, Principal
Christopher Jewell, Assistant Principal
Samuel Blair
CONTRABASSOON
Samuel Blair
HORN
Geoffrey Pilkington, Principal^
Christy Klenke, Assistant Principal
Wei-Ping Chou^
Peter de Boor
Evan Geiger
Patrick Furlo*
TRUMPET
Tim White, Principal
Christopher Tranchitella, Assistant Principal^
Michael Rossi
TROMBONE
Lee Rogers, Principal
Andrew Zaharis, Assistant Principal
Taylor Fong*
BASS TROMBONE
Vacant
TUBA
Seth Cook, Principal
TIMPANI
Jonathan Rance, Principal
Gregory Akagi, Assistant Principal
PERCUSSION
John Spirtas, Principal
Greg Akagi
Robert Jenkins*
HARP
Susan Robinson, Principal
LIBRARIAN
Susan Kelly
ADMINISTRATION
Molly Jackson, Orchestra Personnel Manager
+Begins the alphabetical listing of musicians who participate in a system of revolving seating within the string section
*Guest Musician
^Denotes Leave of Absence
Kennedy Center Opera House Orchestra musicians are represented by the Metropolitan DC Federation of Musicians, AFM Local 161-710.
Kennedy Center Staff
KENNEDY CENTER EXECUTIVE LEADERSHIP
President, John F. Kennedy Center for the Performing Arts
Ambassador Richard Grenell
Chief Financial Officer Donna Arduin
General Counsel
Elliot Berke
Senior Vice President, Marketing����������������������������������������������������������������������������������������������������������������������� Kimberly J. Cooper
Senior Vice President, Development Lisa Dale
Vice President of Human Resources LaTa’sha M. Bowens
Vice President, Public Relations
Vice President, Special Events
Roma Daravi
Bronagh Donlon
Vice President, Facilities Matt Floca
Director, Office of the President Rick James
Vice President, Education
Chief Information Officer
Jordan LaSalle
Bob Sellapan
Executive Director, National Symphony Orchestra Jean Davidson General Director, Washington National Opera Timothy O’Leary
DANCE PROGRAMMING STAFF
Director,
Marketing
Opera House Staff
Theater Manager Guy Jordin Heard*
Box Office Treasurer
Head Usher
Holly Longstreth
Mykal Cox
Head Carpenter Shane Angus Flyman Richard Page
Assistant Carpenter
Assistant
Assistant
Assistant
*Represented by ATPAM, the Association of Theatrical Press Agents and Managers.
The technicians at the Kennedy Center are represented by Local #22,
and Local #798 I.A.T.S.E.,
the professional union of theatrical technicians.
Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the
Center. The box office at the Kennedy Center is represented by I.A.T.S.E, Local #868.
Thank You to Kennedy Center Supporters
The Kennedy Center Board of Trustees
National Symphony Orchestra Board of Directors
Washington National Opera Board of Trustees
The Kennedy Center President’s Council
The Kennedy Center International Committee on the Arts
President’s Advisory Committee on the Arts
National Committee for the Performing Arts
National Symphony Orchestra National Trustees
The Kennedy Center Circles Board
The Kennedy Center Community Advisory Board
The Kennedy Center Corporate Fund Board
The Kennedy Center 50th Anniversary Committee
Corporate Donors
Individual and Foundation Donors
Endowment Gifts, Bequests, and Legacy Donors
Building the Future Campaign Donors
Visit tkc.co/Support for a full listing of donors and to learn how you can join us by becoming a Member.
Andrew Geraci
Cincinnati Ballet The Nutcracker
Cincinnati Ballet is back to enchant with its colorful, family-focused production of The Nutcracker. Follow Clara and her Nutcracker Prince on a grand adventure—where no holiday is complete without a trip to the Land of Sweets! A large cast and live orchestra bring the magic of the holidays to this timeless tale for all ages.
November 26 & 28–30, 2025
Opera House
American Ballet Theatre
The Winter’s Tale
Love crumbles but still blossoms in American Ballet Theatre’s The Winter’s Tale. Tony Award®–winning director and choreographer (MJ, An American in Paris) Christopher Wheeldon brings his visionary eye to William Shakespeare’s romantic play of jealousy, redemption, and the passage of time.
February 11–15, 2026
Opera House
Inspired by the Greek myth of Pandora’s Jar, Mere Mortals explores our relationship with artificial intelligence and its boundless potential, as well as the unforeseen consequences of progress. San Francisco Ballet brings this thrilling fusion of electronic music, festival culture, and contemporary ballet.
May 27–31, 2026
Opera House
Marty
Sohl
Chris Hardy
More Dance this Season!
LOCAL DANCE COMMISSIONING PROJECT
Chitra Subramanian intersects the movement traditions of Indian classical dance and hip hop culture to offer powerful and electrifying dance works for all ages that utilize immersive storytelling and multidisciplinary elements to create meaningful connection and transformation within her audiences.
November 8 & 9, 2025
Terrace Theater
TRISHA BROWN DANCE COMPANY WITH MERCE CUNNINGHAM TRUST PRESENT
Dancing with Bob: Rauschenberg, Brown & Cunningham Onstage
Join a celebration of the centennial of American painter and artist Robert Rauschenberg—a frequent collaborator of Brown and Cunningham.
December 3–5, 2025
Eisenhower Theater
Experience a winter wonderland with this outdoor production that blends dance and skating. In Murmuration, 15 dancers take inspiration from the mysterious phenomenon of bird flocks in undulating flight patterns to craft an exhilarating mix of speed, precision, and fluid choreography.
February 17–22, 2026
Outdoor Plaza
Rolline
Laporte
Support your CULTURAL CENTER
Since 1971, the Kennedy Center has served as President Kennedy’s living memorial, working to fulfill his vision to connect more Americans to the arts—and we need your support. Any federal appropriations we receive can only be used for the maintenance and operation of the building. This means each year we must raise more than $80 million to support the performances, programming, and educational opportunities that bring the arts to millions of people here in DC and around the world. The Kennedy Center is committed to ensuring everyone has a community rich in the performing arts. The support of our donors makes it happen!
Give your support by becoming a Member, joining the Circles, or pledging a Legacy Gift. Visit tkc.co/Support or scan the QR code.
Unique gifts that are always on pointe.
Gestural Movement Hooded Sweatshirt
This exclusive piece pays homage to the universal language of movement, offering warmth and comfort for those who appreciate dance.
Gestural Movement Journal
Inspired by the fluidity of motion and thought, this embossed leather journal offers a unique space for recording your artistic journey.
Art Disciplines
Water Bottle
This ergonomically designed stainless steel bottle is adorned with creative disciplines of music, dance, theater, and visual arts, celebrating arts on the go!
Kennedy Center Puff Tote
This stylish tribute to creativity and culture is perfect for attending a performance or strolling the city, both functional and fashionable.
Visit our two gift shops on Level A and in the Hall of States. Shop online 24/7 at tkc.co/shop
Create an experience... that will last a lifetime.
WEDDINGS AT THE REACH
REACH wedding rentals offer a variety of indoor and outdoor venues to create an unforgettable celebration of love. Situated on the south end of the Kennedy Center Campus, the REACH is a premier Washington, D.C. event venue. With stunning views of the Potomac River, the largest green roof in D.C., and multifunctional event spaces, the REACH provides new elegance with a modern aesthetic.
Visit tkc.co/weddings or scan the QR code for more information.
SHARE THE JOY of the ARTS
A toast before the show. A meal with a view. A selfie in the foyer. At the Kennedy Center, it’s not just about the performance, it’s the moments you share before and after the curtain rises.
Here, you’ll find joy and awe, surprise and wonder. When you come for a performance, you’ll leave with something more. Because what you feel—and who you feel it with— becomes the memory you both carry.
OPEN DAILY 10 A.M. TO MIDNIGHT
CASUAL & UPSCALE
When life doesn’t stick to the script, we’re here for you.
From our connected urgent care network and on-demand 24/7 telehealth to lifesaving specialty care, we’re here when and where you need us.
Behind every visit at MedStar Health is a team of top-rated providers, who together make up one of the region’s most respected health systems.
It’s how we treat every patient…with the best of our hearts, and the best of our minds.