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cincinnati ballet

C E LB R AT E S5 0 1963-2013 Graciously underwritten by ballet lovers.


Victoria Morgan, Artistic Director and CEO

Copywright  2013 Cincinnati Ballet.

All rights reserved. Published in Cincinnati, Ohio www.cballet.org Library of Congress Cataloging

ISBN 12345218720-16156


cincinnati ballet

TABLE OF CONTENTS

CELB R AT ES5 0 11 Foreword

144 The Victorian Era

O TTO B UD IG J R

B ec o m i n g t h e C i n c i n n a t i B a l l et

Community Leader and Philanthropist

13 Dedication V I C TO R IA M O RG A N

1 9 9 7 - p r es e n t

170 The Nutcracker Thro ugh t h e Year s

Victoria Morgan, Artistic Director and CEO

27 Introduction

154 The Next 50 We E xi s t t o M ov e You

T h e D r ea m e r s 1958- 1963

173 Dancers 39 A Leap of Faith R eg i o n a l B a l l e t S w e e p s t h e N a t i o n – E ve n C i n c i n n a t i

179 Board Members

1963- 1965

69 The Company Grows Up

183 Repertor y

T he M c L a in Er a 1966- 1984

99 The Age of Uncertainty U p s , D o w n s a n d E ve r y t h i n g I n B et w e e n 1984- 1997

185 Acknowledgements


Forward FRE DR I CK FRA NKLI N

As a longtime admire, it is my pleasure to write the Introduction for Cincinnati Bal-

let Celebrates 50. But to the small gaggle of dance teachers who gathered in a tiny dance studio one steamy summer afternoon in 1963, the idea was more destiny. They had this romantic notion that Cincinnati’s best dance studios would offer up their best and brightest dancers and together, they would create a civic ballet company. They would perform classics and new ballets and . . . well, no one was exactly sure what this quixotic endeavor would be.

They had this romantic notion that Cincinnati’s best dance studios would offer up their best brightest dancers and together, they would create a civic ballet company. They had this romantic notion that Cincinnati’s best dance studios would offer up their best and brightest dancers and together, they would create a civic ballet com-

They had this romantic notion that Cincinnati’s best dance studios would offer up

pany. They would perform classics and new ballets.

their best brightest dancers and together, they would create a civic ballet company. 8

9


Forward

cincinnati ballet

CELBRATES50

As a longtime admire, it is my pleasure to write the Introduction for Cincinnati

FR ED RI CK FRA NKLI N

This is very important information. In the 2008-2009 Season, Cincinnati Ballet celebrated its 45th an-

Ballet Celebrates 50. But to the small gaggle of dance teachers who gathered in

niversary. The first official auditions were in 1963 at the YMCA, where 41 dancers were chosen from the 200 hopefuls. Debut performances took place at the University of Cincinnati’s Wilson Auditorium in 1964

a tiny dance studio one steamy summer afternoon in 1963, the idea was more des-

and 1965. In 1966, the directorship passed on to a young visionary named David McLain, who at the time also headed the Dance Division of CCM. CCM gave the new company great advantages; studio space

tiny. They had this romantic notion that Cincinnati’s best dance studios would offer

for classes and rehearsals, access to talented students, and the use of Wilson Auditorium for performances. As the organization matured, McLain’s vision grew more ambitious. The company was re-named

up their best and brightest dancers and together, they would create a civic ballet company. They would perform classics and new ballets and . . . well, no one was ex-

“Cincinnati Ballet Company” in 1968 and gained the talented Carmon DeLeone as music director.

In the 2008-2009 Season, Cincinnati Ballet celebrated its 45th anniversary. The first official auditions were in 1963 at the YMCA, where 41 dancers were chosen from the 200 hopefuls. Debut performances

actly sure what this quixotic endeavor would be.

took place at the University of Cincinnati’s Wilson Auditorium in 1964 and 1965. In 1966, the directorship passed on to a young visionary named David McLain, who at the time also headed the Dance Division of CCM. CCM gave the new company great advantages; studio space for classes and rehearsals, access to talented students, and the use of Wilson Auditorium for performances. As the organization matured, McLain’s vision grew more ambitious. The company was re-named

They had this romantic notion that Cincinnati’s best dance studios would offer up their best brightest dancers and together, they would create a civic ballet company. 10

“Cincinnati Ballet Company” in 1968 and gained the talented Carmon DeLeone as music director.


Dedication

cincinnati ballet

CELBR ATE S50

V I C TO RI A MO R G A N

12

As a longtime admire, it is my pleasure to write the Introduction for Cincinnati Bal-

As a longtime admire, it is my pleasure to write the Introduction for Cincinnati Bal-

let Celebrates 50. But to the small gaggle of dance teachers who gathered in a tiny

let Celebrates 50. But to the small gaggle of dance teachers who gathered in a tiny

dance studio one steamy summer afternoon in 1963, the idea was more destiny.

dance studio one steamy summer afternoon in 1963, the idea was more destiny.

They had this romantic notion that Cincinnati’s best dance studios would offer up their

They had this romantic notion that Cincinnati’s best dance studios would offer up their

best and brightest dancers and together, they would create a civic ballet company. They

best and brightest dancers and together, they would create a civic ballet company. They

would perform classics and new ballets and . . . well, no one was exactly sure what

would perform classics and new ballets and . . . well, no one was exactly sure what

this quixotic endeavor would be.

this quixotic endeavor would be.

They had this romantic notion that Cincinnati’s best dance studios would offer up their

They had this romantic notion that Cincinnati’s best dance studios would offer up their

best brightest dancers and together, they would create a civic ballet company.

best brightest dancers and together, they would create a civic ballet company.

13


Introduction 1958

In the 2008-2009 Season, Cincinnati Ballet celebrated its 45th anniversary. The first official auditions were in 1963 at the YMCA, where 41 dancers were chosen from the 200 hopefuls. Debut performances took place at the University of Cincinnati’s

The Dreamers 1963

In the 2008-2009 Season, Cincinnati Ballet celebrated its 45th anniversary. The first official auditions were in 1963 at the YMCA, where 41 dancers were chosen from the 200 hopefuls. Debut performances took place at

Wilson Auditorium in 1964 and 1965. In 1966, the directorship

the University of Cincinnati’s Wilson Auditorium in 1964 and

passed on to a young visionary named David McLain, who at the

1965. In 1966, the directorship passed on to a young visionary

time also headed the Dance Division of CCM. CCM gave the new

named David McLain, who at the time also headed the Dance Di-

company great advantages; studio space for classes and re-

vision of CCM. CCM gave the new company great advantages;

hearsals, access to talented students, and the use of Wilson Au-

studio space for classes and rehearsals, access to talented students,

ditorium for performances. As the organization matured,

and the use of Wilson Auditorium for performances. As the or-

McLain’s vision grew more ambitious. The company was renamed “Cincinnati Ballet Company” in 1968 and gained the talented Carmon DeLeone as music director.

ganization matured, McLain’s vision grew more ambitious. The company was re-named “Cincinnati Ballet Company” in 1968 and gained the talented Carmon DeLeone as music director.


It was an audacious idea. But to the small gaggle of dance teachers

1963, the idea was more destiny . They had this romantic notion that

who gathered in a tiny dance studio one steamy summer afternoon in

Cincinnati’s best dance studios would offer up their best and brightest

1963, the idea was more destiny . They had this romantic notion that

dancers and together, they would create a civic ballet company. They

Cincinnati’s best dance studios would offer up their best and brightest

would perform classics and new ballets and . . . well, no one was ex-

dancers and together, they would create a civic ballet company. They

actly sure what this quixotic endeavor would be.

would perform classics and new ballets and . . . well, no one was exIt was an audacious idea. But to the small gaggle of dance teachers

1963, the idea was more destiny . They had this romantic notion that

who gathered in a tiny dance studio one steamy summer afternoon in

Cincinnati’s best dance studios would offer up their best and brightest

1963, the idea was more destiny . They had this romantic notion tha

dancers and together, they would create a civic ballet company. They

actly sure what this quixotic endeavor would be.

would perform classics and new ballets and . . . well, no one was exup their best and brightest dancers and together, they would create a

actly sure what this quixotic endeavor would be.

civic ballet company. They would perform classics and new ballets and 1963, the idea was more destiny . They had this romantic notion that 1963, the idea was more destiny . They had this romantic notion that

Cincinnati’s best dance studios would offer up their best and brightest

Cincinnati’s best dance studios would offer up their best and brightest

dancers and together, they would create a civic ballet company. They

dancers and together, they would create a civic ballet company. They

would perform classics and new ballets and . . . well, no one was ex-

would perform classics and new ballets and . . . well, no one was ex-

actly sure what this quixotic endeavor would be.

actly sure what this quixotic endeavor would be. It was an audacious idea. But to the small gaggle of dance teachers It was an audacious idea. But to the small gaggle of dance teachers

who gathered in a tiny dance studio one steamy summer afternoon in

who gathered in a tiny dance studio one steamy summer afternoon in

1963, the idea was more destiny . They had this romantic notion tha

1963, the idea was more destiny . They had this romantic notion tha up their best and brightest dancers and together, they would create a up their best and brightest dancers and together, they would create a

civic ballet company. They would perform classics and new ballets and

civic ballet company. They would perform classics and new ballets and 1963, the idea was more destiny . They had this romantic notion that 1963, the idea was more destiny . They had this romantic notion that

Cincinnati’s best dance studios would offer up their best and brightest

Cincinnati’s best dance studios would offer up their best and brightest

dancers and together, they would create a civic ballet company. They

dancers and together, they would create a civic ballet company. They

would perform classics and new ballets and . . . well, no one was ex-

would perform classics and new ballets and . . . well, no one was ex-

actly sure what this quixotic endeavor would be.

actly sure what this quixotic endeavor would be.

16

It was an audacious idea. But to the small gaggle of dance teachers

1963, the idea was more destiny . They had this romantic notion that

who gathered in a tiny dance studio one steamy summer afternoon in

Cincinnati’s best dance studios would offer up their best and brightest

1963, the idea was more destiny . They had this romantic notion that

dancers and together, they would create a civic ballet company. They

Cincinnati’s best dance studios would offer up their best and brightest

would perform classics and new ballets and . . . well, no one was ex- 15

\actly sure what this quixotic endeavor would be.

actly sure what this quixotic endeavor would be.

17


cincinnati ballet

CE L B RAT E S5 0

Leap of Faith

1963-1965


Regional Ballet Sweeps the Nation – Even Cincinnati

Leap of Faith

1963-1965

It was an audacious idea. But to the small gaggle of dance teachers who gathered in a tiny dance studio one steamy summer afternoon in 1963, the idea was more destiny . They had this romantic notion that Cincinnati’s best dance studios would offer up their best and brightest dancers and together, they would create a civic ballet company. They would perform classics and new ballets and . . . well, no one was exactly sure what this quixotic endeavor would be.

20


Oleg Sabline hired as first artistic director

Leap of Faith

1963-1965

It was an audacious idea. But to the small gaggle of dance teachers who gathered in a tiny dance studio one steamy summer afternoon in 1963, the idea was more destiny . They had this romantic notion that Cincinnati’s best dance studios would offer up their best and brightest dancers and together, they would create a civic ballet company. They would perform classics and new ballets and . . . well, no one was exactly sure what this quixotic endeavor would be. Frevo,1973

22

It was an audacious idea. But to the small gaggle of dance teachers

1963, the idea was more destiny . They had this romantic notion that

It was an audacious idea. But to the small gaggle of dance teachers

1963, the idea was more destiny . They had this romantic notion that

who gathered in a tiny dance studio one steamy summer afternoon in

Cincinnati’s best dance studios would offer up their best and brightest

who gathered in a tiny dance studio one steamy summer afternoon in

Cincinnati’s best dance studios would offer up their best and brightest

1963, the idea was more destiny . They had this romantic notion that

dancers and together, they would create a civic ballet company. They

1963, the idea was more destiny . They had this romantic notion that

dancers and together, they would create a civic ballet company. They

Cincinnati’s best dance studios would offer up their best and brightest

would perform classics and new ballets and . . . well, no one was ex-

Cincinnati’s best dance studios would offer up their best and brightest

would perform classics and new ballets and . . . well, no one was ex-

dancers and together, they would create a civic ballet company. They

actly sure what this quixotic endeavor would be.

dancers and together, they would create a civic ballet company. They

actly sure what this quixotic endeavor would be.

would perform classics and new ballets and . . . well, no one was ex-

would perform classics and new ballets and . . . well, no one was ex-

actly sure what this quixotic endeavor would be.

actly sure what this quixotic endeavor would be.

23


cincinnati ballet

CE L B RAT E S5 0

“Cincinnati is a city that really wants dance . It is ver y proud of i ts c ul t ural t radi ti on , a n d I f e e l a g e nuin e d e sire t o p u t danc e in to t he mai n st re am o f t h at traditi on �

The McLain Era

1966-1984

M c La in


“I want to build style,” said McLain. “Dedication is fine. But dedication and no talent add up to a big fat zero.

It’s

quality I’m after. I don’t want to build a big mountain of mediocrity.”

The McLain Era

1966-1984

It was an audacious idea. But to the small gaggle of dance teachers who gathered in a tiny dance studio one steamy summer afternoon in 1963, the idea was more destiny . They had this romantic notion that Cincinnati’s best dance studios would offer up their best and brightest dancers and together, they would create a civic ballet company. They would perform classics and new ballets and . . . well, no one was exactly sure what this quixotic endeavor would be.

18

The Company Grows Up

26


It was an audacious idea. But to the small gaggle of dance teachers

1963, the idea was more destiny . They had this romantic notion that

who gathered in a tiny dance studio one steamy summer afternoon in

Cincinnati’s best dance studios would offer up their best and brightest

1963, the idea was more destiny . They had this romantic notion that

dancers and together, they would create a civic ballet company. They

Cincinnati’s best dance studios would offer up their best and brightest

would perform classics and new ballets and . . . well, no one was ex-

dancers and together, they would create a civic ballet company. They

actly sure what this quixotic endeavor would be.

would perform classics and new ballets and . . . well, no one was exactly sure what this quixotic endeavor would be.

It was an audacious idea. But to the small gaggle of dance teachers who gathered in a tiny dance studio one steamy summer afternoon in 1963, the idea was more destiny . They had this romantic notion that Cincinnati’s best dance studios would offer up their best and brightest

It was an audacious idea. But to the small gaggle of dance teachers

dancers and together, they would create a civic ballet company. They

who gathered in a tiny dance studio one steamy summer afternoon in

would perform classics and new ballets and . . . well, no one was ex-

1963, the idea was more destiny . They had this romantic notion that

actly sure what this quixotic endeavor would be.

Cincinnati’s best dance studios would offer up their best and brightest dancers and together, they would create a civic ballet company. They

It was an audacious idea. But to the small gaggle of dance teachers

would perform classics and new ballets and . . . well, no one was ex-

who gathered in a tiny dance studio one steamy summer afternoon in

actly sure what this quixotic endeavor would be. It was an audacious

1963, the idea was more destiny . They had this romantic notion that

idea. But to the small gaggle of dance teachers who gathered in a tiny

Cincinnati’s best dance studios would offer up their best and brightest

dance studio one steamy summer afternoon in 1963, the idea was

dancers and together, they would create a civic ballet company. They

more destiny . They had this romantic notion that Cincinnati’s best

would perform classics and new ballets and . . . well, no one was ex-

dance studios would offer up their best and brightest dancers and to-

actly sure what this quixotic endeavor would be.

gether, they would create a civic ballet company. They would perform classics and new ballets and . . . well, no one was exactly sure what this quixotic endeavor would be.

12


CarmonDeLeone Carmon DeLeone, Music Director of The Cincinnati Ballet, The Illinois Philharmonic Orchestra and The Middletown (OH) Symphony, possesses an impressive list of accomplishments. At New York's Carnegie Hall, he has served as Conductor and Host of the "Family Concert" Series. He has conducted frequent performances in Europe with the Luxembourg Philharmonic Orchestra; and has been named the Illinois "Music Director of the Year." As a composer, he most recently premiered his FANFARE, FUNK & FANDANGO (An American Dance Set). He has composed many original scores for the ballet, most recently his Princess and the Pea. His best known work, the full-length ballet in two acts, Peter Pan, is enjoying continued praise in major cities from coast to coast, as well as overseas. Maestro DeLeone conducted the debut of Peter Pan in London during a 28-performance run with the Atlanta Ballet at the prestigious Royal Festival Hall. His list of ballet score creations also includes Frevo, Guernica, With Timbrel and Dance Praise His Name, and Ruth Page's Billy Sunday, which was nationally televised in 1983. During his 12-year tenure as Assistant, and later Resident Conductor of the Cincinnati Symphony Orchestra, Maestro DeLeone served on its staff with Music Directors Max Rudolf, Thomas Schippers, Walter Susskind, and Erich Kunzel. He was also selected personally by Erich Leinsdorf to participate in an intensive master conducting seminar at Lincoln Center. Maestro DeLeone's European debut with the Echternach International Festival Orchestra of Luxembourg was greeted with notices such as these: "Carmon DeLeone conducts with supple motions, naturally and without exaggeration. He is a man of great courtesy who does not seem to include the word 'impossible' in his vocabulary" (Le RĂŠpublicain Lorrain) "Carmon DeLeone conducted with athletic elegance and strong motivation" (Frankfurter Allegemeine Zeitung) Under Mr. DeLeone's leadership, The Illinois Philharmonic was named the "1992 Illinois Orchestra of the Year" -- an honor held in the previous year by the Chicago Symphony Orchestra.

Maestro DeLeone is very pleased to have made his New York conducting debut with the Alvin Ailey American Dance Theater for their seasonopening gala performance of Carmina Burana and Revelations at New York's City Center. He made his Carnegie Hall debut with the Orchestra of St. Luke's and was immediately re-engaged to host and conduct all of the following year's series of "Family Concerts."


cincinnati ballet

CE L B RAT E S5 0

The Victorian Era

1997-present


The Victorian Era

1997-present

It was an audacious idea. But to the small gaggle of dance teachers who gathered in a tiny dance studio one steamy summer afternoon in 1963, the idea was more destiny . They had this romantic notion that Cincinnati’s best dance studios would offer up their best and brightest dancers and together, they would create a civic ballet company. They would perform classics and new ballets and . . . well, no one was exactly sure what this quixotic endeavor would be.


The Victorian Era

1997-present

It was an audacious idea. But to the small gaggle of dance teachers

1963, the idea was more destiny . They had this romantic notion that

who gathered in a tiny dance studio one steamy summer afternoon in

Cincinnati’s best dance studios would offer up their best and brightest

1963, the idea was more destiny . They had this romantic notion that

dancers and together, they would create a civic ballet company. They

Cincinnati’s best dance studios would offer up their best and brightest

would perform classics and new ballets and . . . well, no one was ex-

dancers and together, they would create a civic ballet company. They

actly sure what this quixotic endeavor would be.

would perform classics and new ballets and . . . well, no one was exIt was an audacious idea. But to the small gaggle of dance teachers

actly sure what this quixotic endeavor would be.

who gathered in a tiny dance studio one steamy summer afternoon in 1963, the idea was more destiny . They had this romantic notion that Cincinnati’s best dance studios would offer up their best and brightest It was an audacious idea. But to the small gaggle of dance teachers

dancers and together, they would create a civic ballet company. They

who gathered in a tiny dance studio one steamy summer afternoon in

would perform classics and new ballets and . . . well, no one was ex-

1963, the idea was more destiny . They had this romantic notion that

actly sure what this quixotic endeavor would be.

Cincinnati’s best dance studios would offer up their best and brightest dancers and together, they would create a civic ballet company. They

It was an audacious idea. But to the small gaggle of dance teachers

would perform classics and new ballets and . . . well, no one was ex-

who gathered in a tiny dance studio one steamy summer afternoon in

actly sure what this quixotic endeavor would be.

1963, the idea was more destiny . They had this romantic notion that

It was an audacious idea. But to the small gaggle of dance teach-

Cincinnati’s best dance studios would offer up their best and brightest dancers and together, they would create a civic

ers who gathered in a tiny dance studio one steamy sum-

ballet company. They would perform classics and

mer afternoon in 1963, the idea was more destiny .

new ballets and . . . well, no one was exactly sure

They had this romantic notion that Cincinnati’s best

“The Company

dance studios would offer up their best and

what this quixotic endeavor would be.

changed the moment

20

It was an audacious idea. But to the small gaggle of dance teachers

1963, the idea was more destiny . They had this romantic notion that

It was an audacious idea. But to the small gag-

who gathered in a tiny dance studio one steamy summer afternoon in

Cincinnati’s best dance studios would offer up their best and brightest

gle of dance teachers who gathered in a tiny

1963, the idea was more destiny . They had this romantic notion that

dancers and together, they would create a civic ballet company. They

dance studio one steamy summer afternoon in

Cincinnati’s best dance studios would offer up their best and brightest

would perform classics and new ballets and . . . well, no one was ex-

1963, the idea was more destiny . They had this ro-

dancers and together, they would create a civic ballet company. They

actly sure what this quixotic endeavor would be.

mantic notion that Cincinnati’s best dance studios would

Victoria walked in”

would perform classics and new ballets and . . . well, no one was ex-

offer up their best and brightest dancers and together, they would cre-

actly sure what this quixotic endeavor would be.

ate a civic ballet company. They would perform classics and new ballets and . . . well, no one was exactly sure what this quixotic endeavor

1963, the idea was more destiny . They had this romantic notion that Cincinnati’s best dance studios would offer up their best and brightest dancers and together, they would create a civic ballet

company. They would perform classics and new ballets and . . . well, no one was exactly sure what this quixotic endeavor would be.


The Dancers


It was an audacious idea. But to the small gaggle of dance teachers

1963, the idea was more destiny . They had this romantic notion that

who gathered in a tiny dance studio one steamy summer afternoon in

Cincinnati’s best dance studios would offer up their best and brightest

1963, the idea was more destiny . They had this romantic notion that

dancers and together, they would create a civic ballet company. They

Cincinnati’s best dance studios would offer up their best and brightest

would perform classics and new ballets and . . . well, no one was ex-

dancers and together, they would create a civic ballet company. They

actly sure what this quixotic endeavor would be.

would perform classics and new ballets and . . . well, no one was exactly sure what this quixotic endeavor would be.

1963, the idea was more destiny . They had this romantic notion that Cincinnati’s best dance studios would offer up their best and brightest dancers and together, they would create a civic ballet company. They

1963, the idea was more destiny . They had this romantic notion that

would perform classics and new ballets and . . . well, no one was ex-

Cincinnati’s best dance studios would offer up their best and brightest

actly sure what this quixotic endeavor would be.

dancers and together, they would create a civic ballet company. They would perform classics and new ballets and . . . well, no one was ex-

1963, the idea was more destiny . They had this romantic notion that

actly sure what this quixotic endeavor would be.

Cincinnati’s best dance studios would offer up their best and brightest dancers and together, they would create a civic ballet company. They

1963, the idea was more destiny . They had this romantic notion that

would perform classics and new ballets and . . . well, no one was ex-

Cincinnati’s best dance studios would offer up their best and brightest

actly sure what this quixotic endeavor would be.

dancers and together, they would create a civic ballet company. They would perform classics and new ballets and . . . well, no one was exactly sure what this quixotic endeavor would be.


1963, the idea was more destiny . They had this romantic notion that

1963, the idea was more destiny . They had this romantic notion that

Cincinnati’s best dance studios would offer up their best and brightest

Cincinnati’s best dance studios would offer up their best and brightest

dancers and together, they would create a civic ballet company. They

dancers and together, they would create a civic ballet company. They

would perform classics and new ballets and . . . well, no one was ex-

would perform classics and new ballets and . . . well, no one was ex-

actly sure what this quixotic endeavor would be.

actly sure what this quixotic endeavor would be.

1963, the idea was more destiny . They had this romantic notion that

1963, the idea was more destiny . They had this romantic notion that

Cincinnati’s best dance studios would offer up their best and brightest

Cincinnati’s best dance studios would offer up their best and brightest

dancers and together, they would create a civic ballet company. They

dancers and together, they would create a civic ballet company. They

would perform classics and new ballets and . . . well, no one was ex-

would perform classics and new ballets and . . . well, no one was ex-

actly sure what this quixotic endeavor would be.

actly sure what this quixotic endeavor would be.

1963, the idea was more destiny . They had this romantic notion that

1963, the idea was more destiny . They had this romantic notion that

Cincinnati’s best dance studios would offer up their best and brightest

Cincinnati’s best dance studios would offer up their best and brightest

dancers and together, they would create a civic ballet company. They

dancers and together, they would create a civic ballet company. They

would perform classics and new ballets and . . . well, no one was ex-

would perform classics and new ballets and . . . well, no one was ex-

actly sure what this quixotic endeavor would be.

actly sure what this quixotic endeavor would be.


Repertor y

cincinnati ballet

1963-2013

SEASON

TITLE

1969/70 2001/02 1993/94 1966/67 1988/89 1991/92 2000/01 1999/00 1998/99 1971/72 1986/87 1979/80

12 X 9 IN 5 7x5 AGON ANCIENT DANCES AND AIRS ANNE FRANK APOLLO AQUILARCO ARIA AT THE BALLET AUBADE AUREOLE AURORA'S WEDDING

McLain Cook Balanchine McLain Wainrot Balanchine AQUILARCO ARIA Poole Sabline Taylor Petipa/Franklin

Lutoslawski Saint-Saens Stravinsky Respighi Bartok Stravinsky Sollima Handel Verdi/Racmaninoff Poulenc Handel Tchaikovsky

BEAUTY AND THE BEAST BELLING THE SLAYER THE BELOVED BERNSTEIN'S MASS BEYOND BEYOND INNOCENCE BILLY SUNDAY BLUEBIRD PAS DE DEUX BLUE UNTIL JUNE BOW OUT BUTTERFLY

Nixon Peterson Horton Truitte Hougland Morgan Page Petipa McIntyre Caniparoli Nixon

Bizet/Britten/Debussy/ Honegger/Poulenc/Saint-Saen3/20Aronoff Goldsmith 10/22/00 Aronoff Hamilton 6/1/71 Playhouse in the Park Bernstein 5/21/72 Music Hall R.V. Williams 4/12/02 Aronoff Enigma 2/12/99 Aronoff DeLeone 2/3/83 Music Hall Tchaikovsky 4/16/67 Wilson Aud. James 3/7/03 Aronoff Bedford/Powell 10/22/99 Aronoff Puccini 4/23/99 Aronoff

1 7 1 1 2 1 1 1 1 1

CARMINA BURANA CARMEN CARMEN CHARACTER DANCES CHOPIN CONCERTO CINDERELLA CINDERELLA CINDERELLA CLOUDS COMPANY B CON AMORE CONCERT WALTZES CONCERTO BAROCCO CONCERTO CONCERTO COPPELIA COPPELIA

Butler Burgoine Peterson Carlton/Gamboe Levinoff Stevenson Anastos Morgan McLain Taylor Christensen Levans Balanchine MacMillan McLain Petipa/Saint-Leon DeLibes

Orff Bizet Bizet Various Chopin Prokofiev Prokofiev Prokofiev Dvorak Andrews Sisters Rossini Glazunov Balanchine Shostakovich Poulenc Delibes DeLibes

7 1 1 1 1 4 1 1 2 1 4 4 12 2 4 6 1

a

b

1997/98 1999/00 1970/71 1971/72 2001/02 1998/99 1982/83 1966/67 2002/03 1999/00 1998/99

c

1984/85 1993/94 1997/98 1963/64 1963/64 1988/89 1995/96 1999/00 1971/72 1996/97 1980/81 1978/79 1971/72 1988/89 1968/69 1978/79 2000/01

CHOREOGRAPHER

MUSIC

CE LB R ATE S50 PREMIERE DATE

4/30/70 2/1/02 4/29/94 4/16/67 5/11/89 4/17/92 11/17/00 10/22/99 11/6/98 12/12/71 10/30/86 4/17/80

5/9/85 2/11/94 5/8/98 3/15/64 3/15/64 3/23/89 10/27/95 5/12/00 12/12/71 11/8/96 12/4/80 2/8/79 4/10/72 9/8/88 4/17/69 4/5/79 4/6/01

PREMIERE

Corbett Aud. Aronoff Music Hall Wilson Aud. Music Hall Music Hall Aronoff Aronoff Aronoff Indian Hills HS Music Hall Music Hall

Music Hall Music Hall Aronoff Wilson Aud. Wilson Aud. Music Hall Music Hall Aronoff Indian Hills HS Aronoff Music Hall Music Hall Corbett Theatre Music Hall Corbett Aud. Music Hall Aronoff

NO. OF YEARS

3 1 1 4 2 1 1 1 1 1 2 4

d

1975/76 1972/73 1965/66 2002/03 1980/81 1968/69 1971/72 1998/99 1991/92 1972/73 1986/87 1982/83 2001/02 1972/73 1982/83

e/f

1973/74 1997/98 1972/73 1970/71 2000/01 1973/74 1996/97 1981/82 1987/88 1985/86 1980/81 1973/74

g

2002/03 1983/84 1991/92 1999/00 1994/95 2000/01 1991/92 1980/81 1977/78 1970/71 1977/78 1997/98 1991/92 1970/71 1970/71

DEAR FRIENDS AND GENTLE HEARTS Saddler DEDICATION TO JOSE CLEMENTE OROZCOHorton DESIGNS FOR STRINGS Taras DEVIL'S HOLIDAY, Excerpts Ashton DIALOGUES IN RHYTHM Levans DILEMMAS MODERNE McLain DILEMMAS MODERNE II McLain/Badings IL DISTRATTO L. Christensen DIVERTIMENTO NO. I5 Balanchine DIVERTISSEMENT CLASSIQUE Jasinski DOBLE CORCHEA Nebrada DOMINO Anastos DON QUIXOTE Peterson DON QUIXOTE PAS DE DEUX Traditional DONIZETTI VARIATIONS Balanchine

Proto Klaus Tchaikovsky Tommasini Gould Carter Badings Haydyn Mozart Burgermuller Britten Herbert Minkus Minkus Donizetti

4/29/76 2/9/73 4/17/66 10/18/02 4/2/81 10/16/68 3/5/72 11/6/98 4/17/92 11/3/72 9/11/86 12/2/82 10/26/01 11/3/72 9/30/82

Taft Theatre Corbett Aud. Wilson Aud. Aronoff Palace Corbett Aud. Playhouse in the Park Aronoff Music Hall Indian Hills HS Music Hall Music Hall Aronoff Indian Hills HS Taft Theatre

4 3 1 1 1 1 1 1 2 4 3 2 1 1 3

ET CETERA THE EYES THAT GENTLY TOUCH FACE OF VIOLENCE FANDANGO FINGERPRINTS THE FIREBIRD THE FIREBIRD FOOTAGE FOUR LAST SONGS THE FOUR TEMPERAMENTS FRANKIE AND JOHNNY FREVO

Palombo Glass DeLeone Soler Kronos Quartet Stravinsky Stravinsky Various Strauss Hindemith Moross DeLeone

11/28/73 5/8/98 2/9/73 2/5/7l 11/17/00 6/14/74 3/14/97 10/1/8I 2/11/88 9/12/85 10/9/80 2/8/74

Corbett Aud. Aronoff Corbett Aud. Shubert Aronoff Music Hall Aronoff Taft Theatre Music Hall Music Hall Palace Corbett Aud.

1 1 5 1 1 3 1 5 3 4 3 3

10/18/002 5/10/84 2/14/92 4/14/00 4/14/95 3/9/01 5/15/92 10/9/80 4/20/78 6/1/71 4/20/78 5/8/98 10/25/91 6/1/71 2/5/71

Aronoff Music Hall Music Hall Aronoff Music Hall Aronoff Music Hall Palace Music Hall Playhouse in the Park Music Hall Aronoff Music Hall Playhouse in the Park Shubert

1 2 1 1 1 2 1 1 4 1 3 1 1 5 3

Johnson Peterson Horton Tudor Welch Fokine Wells Anastos Stevenson Balanchine Page/Stone Truitte

GAITE PARISIENNE, Excerpts Massine Offenbach GISELLE Perrot/Coralli Adam GISELLE Franklin/Burgoine Adam GISELLE, ACT II Perrot/Coralli/FranklinAdam GLORIA Anastos Vivaldi GRACELAND Goodlett/Morgan Simon GRADUATION BALL Lichine Strauss GRAND PAS DE DEUX FROM SLEEPING BEAUTYPetipa/Franklin Tchaikovsky GRAND PAS DE DEUX FROM SYLVIA Franklin Delibes GRAND WALTZ - EUGENE ONEGIN McLain Tchaikovsky GRANDE TARANTELLE Jasinski Gottschalk GRANDE TARANTELLE Poole Gottschalk THE GREAT GATSBY Prokovsky Schuller GUERNICA Truitte DeLeone GUITAR CONCERTO McLain Castelnuovo -Tedesco


h/i

1967/68 1982/83 1996/97 1981/82

k/l

1989/90 1982/83 1998/99 2000/01 1986/87 1985/86 1987/88 1991/92 1984/85 1975/76 1990/91 1967/68 1965/66 2000/01 1981/82 1986/87 1995/96 1966/67 1968/69

m

1981/82 1970/71 1970/71 1993/94 2002/03

n

1996/97 1967/68 1999/00 2002/03 1974/75 1987/88 1994/95 1997/98 2001/02 1970/71 1966/67 1965/66

HANSEL AND GRETEL ISADORA DANCES JEWELS JUBILEE

McLain Anastos Balanchine Duell/Kay

Humperdinck 12/23/67 Chopin 3/17/83 Faure/Stravinsky/Tchaikovsky10/11/96 Gottschalk 3/4/82

L. LA CREATION DU MONDE LADY OF THE CAMELLIAS LAMENT LA SONNAMBULA LA SYLPHIDE LA SYLPHIDE LAS DESENAMORADAS LE BEAU DANUBE LE COMBAT LE CORSAIRE LES PATINEURS LES PATINEURS L'ESPRIT DE SEPT ET UN VIOLON LES SYLPHIDES LES SYLPHIDES THE LOST WORLD LOVERS L'HISTOIRE DU SOLDAT

Stevenson Duell Caniparoli Rhoden Balanchine Bournonville/Franklin Bournonville/Nagy Pomare Massine/Franklin Dollar Petipa Ashton/Martinez Ashton/Sabline Simmons Fokine/Franklin Fokine/Nagy Anastos McLain McLain

Lawson 3/22/90 Milhaud 9/30/82 Chopin 10/7/98 Veal/Worthington 3/9/01 Rieti 2/5/87 Schneitzhoeffer ? Lovensskiold?5/l5/86 Schneitzhoeffer ? Lovensskiold?5/I2/88 Coltrane 5/15/92 Strauss? 4/4/85 DeBanfield 4/29/76 Adam 3/8/91 Meyerbeer 5/9/68 Meyerbeer 4/17/66 Pagannini 11/17/00 Chopin 2/4/82 Chopin 9/11/86 Golub 2/9/96 Rorem 4/16/67 Stravinsky 11/22/68

THE MERRY WIDOW MORPHOSIS MORPHOSIS II MIDSUMMER NIGHT'S DREAM A MIDSUMMER NIGHT'S DREAM

Page Lehar McLain Palombo McLain Palombo Anastos Mendelssohn Goodlett/Morgan/SimonMendelssohn

4/29/82 10/22/70 2/5/71 5/13/94 2/14/03

Music Hall Taft Theatre Aronoff Palace

1 1 1 3

Music Hall Taft Theatre Aronoff Aronoff Music Hall Music Hall Music Hall Music Hall Music Hall Taft Theatre Music Hall Corbert Aud. Wilson Aud. Aronoff Music Hall Music Hall Music Hall Wilson Aud. Corbert Aud.

2 1 1 1 3 1 2 1 2 5 1 1 1 1 4 2 1 1 1

Music Hall Contemp. Arts Ctr. Shubert Music Hall Aronoff

3 1 1 2 1

NATURESCAPE Poole NorthWord Press 11/8/96 Aronoff 1 NIGHT SOLILOQUY McLain Rogers 10/10/67 Music Hall 1 NO OBLIVION Morgan Vivaldi 3/10/00 Aronoff 1 NO OTHER Caniparoli Rodgers 10/18/02 Aronoff 1 NUTCRACKER Franklin/Jasinski/LarkinTchaikovsky 12/26/74 Music Hall 13 NUTCRACKER Stevenson Tchaikovsky 12/19/87 Music Hall 7 NUTCRACKER Anastos Tchaikovsky 12/16/94 Music Hall 3 NUTCRACKER (W. Christensen/Franklin/Poole/Burgoine/Morgan/Tchaikovsky)W. Christensen/Franklin/Poole/Burgoine/MorganTchaikovsky12/18/97 Music Hall 4 Note: During the 4th year (2000) of this production, Daniel Simmons was added as a sixth choreographer. NUTCRACKER Caniparoli Tchaikovsky 12/14/01 Music Hall 2 NUTCRACKER GRAND PAS DE DEUX Ivanov/Markova Tchaikovsky 6/1/71 Playhouse in the Park 1 NUTCRACKER SUITE McLain Tchaikovsky 12/4/66 Music Hall 1 NUTCRACKER/SLEEPING BEAUTY EXCERPTSSabline/Karina Tchaikovsky 4/17/66 Wilson Aud. 1

o/p 1987/88 2001/02 1979/80 1965/66 1975/76 1977/78 1964/65 1983/84 1969/70 1963/64 1994/95 2000/01 1996/97 1982/83 2001/02 1990/91 1998/99

OUR WALTZES OUT-O-SENSE PAQUITA PAS DE DEUX ROMANTIQUE PAS DE DIX PAS DE QUATRE PAS DE QUATRE PAS DE QUATRE PAS DE QUATRE PETER AND THE WOLF PETER PAN PETER PAN POEM WITHOUT A HERO POEME LYRIQUE POSTCARDS FROM THE SKY PREMIERE THE PRINCESS & THE PEA

Nebrada Morgan Danilova Sabline Petipa/Franklin Dolin/Franklin Dolin/Karina Dolin/Krassovska Dolin/Markova Sommers Anastos Webre Posin Franklin Simmons Stevenson Morgan

Carreno various 50's and 60's Minkus Lovnskyold

1999/00 1985/86 1983/84 2002/03 1993/94 1995/96 1968/69 1992/93 1980/81 1985/86 2000/01 1966/67 1987/88 1998/99

RAPTURE RAVEL PIANO CONCERTO RAYMONDA VARIATIONS REVERENCE RITE OF SPRING RODEO ROMANZO ROMEO AND JULIET ROMEO AND JULIET ROMEO AND JULIET ROMEO & JULIET RONDO ROSALINDA RUBIES

1992/93 1984/85 1972/73 1990/91 2002/03 1991/92 1993/94 1998/99 1964/65 1966/67 2002/03 1967/68 2001/02 1965/66

SCHEHERAZADE SCOTCH SYMPHONY SERENADE SERGEANT EARLY'S DREAM THE SEVENTH SYMPHONY, 3rd Movement SLAUGHTER ON TENTH AVENUE SLEEPING BEAUTY THE SLEEPING BEAUTY SLEEPING BEAUTY DIVERTISSEMENT SLEEPING BEAUTY PAS DE TROIS THE SLEEPING BEAUTY SONGS OF SILENCE SQUARE DANCE STARS AND STRIPES

q/r

s

Pugni Pugni Pugni Pugni Prokofiev DeLeone Deleone ?Zygorsk/Schnitteke Ravel Mozetich Shostakovich/Bing DeLeone

5/12/88 2/1/01 11/29/79 4/17/66 4/29/76 12/1/77 3/28/65 4/19/84 4/30/70 3/15/64 10/28/94 5/11/01 3/14/97 3/17/83 4/12/02 3/8/91 11/6/98

Music Hall Aronoff Music Hall Wilson Aud. Taft Theatre Music Hall Wilson Aud. Music Hall Corbert Aud. Wilson Aud. Music Hall Aronoff Aronoff Taft Theatre Aronoff Music Hall Aronoff

2 1 5 1 6 1 3 1 5 3 2 1 1 3 1 1 1

York Anastos Glazunov Adam Wainrot DeMille McLain Prokofiev Chouteau/Jasinski Page Prokofiev McLain Hynd Balanchine

Prokofiev Ravel Glazunov Satie Stravinsky Copland Arensky Prokofiev Tchaikovsky Tchaikovsky Prokofiev Haydn Strauss Stravinsky

3/10/00 5/I5/86 11/17/83 10/18/02 4/29/94 2/9/96 4/17/69 2/12/93 4/30/81 2/6/86 9/11/01 4/16/67 9/10/87 2/12/99

Aronoff Music Hall Music Hall Aronoff Music Hall Music Hall Corbert Aud. Music Hall Music Hall Music Hall Aronoff Wilson Aud. Music Hall Aronoff

1 1 3 1 1 1 1 2 1 1 1 1 2 1

Fokine/Franklin Balanchine Balanchine Bruce Massine Balanchine Petipa/Burgoine Poole Karina McLain Peterson McLain Balanchine Sabline

Rimsky-Korsakov? Mendelssohn Tchaikovsky Chieftains Beethoven Rodgers Tchaikovsky Tchaikovisky Tchaikovsky Tchaikovsky Tchaikovsky Takacs Vivaldi/Corelli Sousa

4/9/93 9/13/84 5/3/73 5/9/91 10/18/02 4/17/92 10/22/93 3/19/99 3/28/65 10/19/66 11/15/02 11/29/67 4/12/02 4/17/66

Music Hall Music Hall Corbett Aud. Music Hall Aronoff Music Hall Music Hall Aronoff Wilson Aud. Music Hall Aronoff Corbett Aud. Aronoff Wilson Aud.

1 4 13 1 1 2 1 1 1 1 1 3 1 1


1999/00 1980/81 1986/87 1992/93 1994/95 1997/98 1976/77 1987/88 1996/97 1999/00

t

1983/84 1989/90 1984/85 1995/96 2001/02 1986/87 1999/00 1987/88 1978/79 1999/00 1968/69 1971/72

u/v 2001/02 1979/80 1995/96 1969/70 1975/76 1990/91 1983/84

wxyz 1979/80

STEPPING STONES THE STILL POINT STORM, THE SWAN LAKE SWAN LAKE SWAN LAKE SWAN LAKE ACT II SWAN LAKE ACT II SWEET DREAMS SYNC

Posin Tower Bolender Debussy Prokovsky Shostakovitch Petipa/Ivanov/BurgoineTchaikovsky Tchaikovsky Tchaikovsky Poole Tchaikovsky Franklin Tchaikovsky Petipa/Ivanov/Nagy/BurrTchaikovsky Anastos Vivaldi/Cline Christe Einaudi/Salgari

3/10/00 10/9/80 4/16/87 10/23/92 5/12/95 10/3/97 2/3/77 3/24/88 11/8/96 4/14/00

Aronoff Palace Music Hall Music Hall Music Hall Aronoff Taft Theatre Music Hall Aronoff Aronoff

1 2 3 1 1 1 6 2 1 1

TABLE MANNERS Anastos TAMING OF THE SHREW Cranko TCHAIKOVSKY PAS DE DEUX Balanchine THEME AND VARIATIONS Balanchine A THOUSAND AND ONE NIGHTS Aliev THREE DANCES TO JAPANESE MUSIC Carter THE THREE MUSKETEERS Prokovsky THREE PRELUDES Stevenson TRIBUTE Franklin TRICKS & TREATS Poole TWO X TWO McLain THE UNICORN, GORGON & MANTICORE Johnson

Handel Stolze/Scarlatti Tchaikovsky Tchaikovsky Amirov Katada Verdi Rachmanioff Franck Skier-Zucek/Kodaly DeRepartz Menotti

9/15/83 5/10/90 11/1/84 4/19/96 5/10/02 5/14/87 2/4/00 10/29/87 11/30/78 10/22/99 10/16/68 4/29/72

Music Hall Music Hall Music Hall Music Hall Aronoff Music Hall Aronoff Music Hall Music Hall Aronoff Corbett Aud. Music Hall

3 2 3 1 1 3 1 4 4 1 1 1

UNION FRATERNAL Moses VARIEGATIONS Truitte WHO CARES? Balanchine WlNTER'S TRACES McLain WITH TIMBREL AND DANCE, PRAISE HIS NAMETruitte WOMAN IN LOVE Prokovsky YES VIRGINIA, ANOTHER PIANO BALLET Anastos

Santos DeLeone Gershwin Verdi DeLeone Schumann Chopin

4/12/02 11/29/79 2/9/96 4/30/70 9/11/05 5/9/91 4/19/84

Aronoff Music Hall Music Hall Corbett Aud. Taft Theatre Music Hall Music Hall

1 1 2 4 7 1 2

2/14/80

Music Hall

1

ZINGARA (Jasinski/Wieniawski)

ZINGARA (Jasinski/Wieniawski)


Cincinnati Ballet celebrates 50