Preview | Fall 2019 - Issue 49

Preview A publication for our donors / Issue No. 49 Fall 2019

Every Child Deserves Joy

Karen Kain Marks 50 Years with The National Ballet of Canada Few individuals in the history of Canadian culture have served with such passion and commitment as Karen Kain. Over her long and varied career with The National Ballet of Canada, she has excelled as an artist, an advocate for the cultural

sector and an artistic leader. This issue of Preview focuses on Karen’s legacy as one of the most gifted classical dancers of her era, and how her experiences onstage impact her stewardship of the company for audiences and artists today.

Queen Elizabeth II Coronation Award The celebratory 2019/20 season began with Karen receiving the Queen Elizabeth II Coronation Award for her contribution to ballet, the highest honour conferred by The Royal Academy of Dance. She is the first Canadian to receive the award.

The ceremony took place on August 29, 2019 at the Genée International Ballet Competition in Toronto, where Karen judged the final round of competition alongside Dame Monica Mason, former Artistic Director of The Royal Ballet, and Mikko Nissinen, Artistic Director of Boston Ballet.

Karen Kain, Prima Ballerina 1969 – 1997 K a r e n K a i n ’s e x t r a o r d i n a r y stage career saw her collaborating with renowned choreographers, performing nearly every lead role in the classical reper toire, and fulfilling guest engagements at top companies worldwide.

Throughout, she remained devoted to The National Ballet of Canada, where her career began in the Corps de Ballet in 1969.

Karen was a standout from the beginning. At just 19 years old, she was invited to dance the lead role of Odette/Odile in Swan Lake, earning

Top: Dame Monica Mason and Karen Kain at the Queen Elizabeth II Coronation Award ceremony. Karen Kain accepting the Queen Elizabeth II Coronation Award. Photos by Karolina Kuras. Opposite: Karen Kain as Giselle (1989). Photo by David Street.

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The National Ballet of Canada

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“Giselle has just the sort of dancing that I love – difficult but full of jumps, emotion and beauty.”

- Artistic Director Karen Kain, C.C., LL.D., D.Litt., O.Ont.

Contents Karen Kain Celebrates 50 Years Engaging with our Community Message from the Director of Development Soaring Campaign World Premiere: Orpheus Alive Missy Mazzoli: Making the Classical Contemporary Corps Q & A: Larkin Miller

An Iconic Giselle

International Masterworks Dancer Profile:

a promotion to Principal Dancer for her sensational debut. Two years later, she won a Silver Medal at the International Ballet Competition in Moscow and, alongside frequent partner Frank Augustyn, received a special prize for Best Pas de Deux.

She also developed a close creative partnership with Rudolf Nureyev and performed with him often throughout h e r c a r e e r. K a r e n r e ti r e d f r o m dancing in 1997 following a sold-out farewell tour.

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Ever y production in the 2019/20 season holds special meaning for Karen, perhaps none more so than the great Romantic ballet Giselle. Karen credits Giselle, with its haunting love story and ethereal Wilis, with inspiring her to dance. It was the first ballet she saw as a child, and it left a lifelong impression of beauty, grandeur and the power of storytelling through movement.

Dating to 1841, Giselle is so steeped in history that every note, step and character is alive with meaning and potential. But it is the title role that has earned Giselle the moniker “the Hamlet of ballet”: Giselle, the young peasant girl, consumed with grief and madness over her lover’s deception. Giselle presents one of the most daunting challenges in classical ballet, and dancers have been known to make their reputations on it.

Karen Kain was one of the finest.

Karen debuted as Giselle in 1973 with Frank Augustyn as her partner, Albrecht. It was the first full-length ballet the famous “gold dust twins” learned together and one of the best showcases of Karen’s musicality, technique and dramatic depth. Giselle quickly became a signature role for Karen. She performed it opposite August yn for the 1976 CBC production directed by Norman Campbell and again on tour with the Bolshoi Ballet in 1977, solidif ying her reputation for excellence abroad.

Sonia Rodriguez Charles Pachter’s Moose Lake Pas de Deux Volunteer Profile: Jen Lee Koss The Karen Kain Legacy Fund Awards In Brief Share the Magic

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national.ballet.ca Preview newsletter is published quarterly by The National Ballet of Canada’s Development Department.

Director of Development: Diana Reitberger, CFRE Publisher: John Hart Preview Editor: Caroline Dickie Contributor: Sayana Izmailova Art & Design: Carmen Wagner We would love to hear from you.

Please send your comments to: preview@national.ballet.ca Cover: Karen Kain.

Photo by Karolina Kuras.

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Engaging with our Community: 50 Schools in Karen Kain’s 50th Anniversary Season

T his se ason, for the f ir st time e v e r, T h e N a t i o n a l B a l l e t o f Canada’s Education and Community Engagement programme will reach 50 schools in all 31 neighbourhood improvement areas in the G r e a t e r To r o n t o A r e a , a s identified by the Cit y of Toronto.

Programmes offered include YO U d a n c e , S h a r e t h e M a g i c , Dance A bout, Specialist High Skills Major and Student Matinees.

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“When we offered these programmes on a first come, first served basis, we limited our ability to prioritize schools and communities m o s t i n n e e d ,” e x p l a i n s L i s a Robinson, Education and Community Engagement Manager. “This season, when I ask students if they have ever seen a ballet performance before, all of them say no. That’s when I can be certain that we’re maximizing the power of our programmes to provide an arts education to children who would otherwise go without.”

The Community Engagement programme has grown considerably since Karen Kain was appointed A r t i s t i c D i r e c to r i n 2 0 0 5 . YO U d a n c e, th e l a rg e s t e n g a g e m e nt initiative, introduce s students in grades four to six to the world of dance through free workshops and performances. In recent years, YOU d a nc e h a s ex pa nd e d to inc lu d e livestream technology and extended residencies in Toronto’s Regent Park neighbourhood and York region, and now reaches more than 35,000 young people each year. YOU dance has

reached a total of 235,000 students across Canada since the programme began in 2007.

The National Ballet also offers more community-based performances than ever before, partners with the Geneva Centre for Autism and Bloor view School Authority on select workshops a n d p rov i d e s a v i s u a l g u i d e fo r Rela xed Per formances, designed for those who identif y with or are on the Autism Spectrum, ADHD, neurodiverse or who experience l e a r n i n g o r d eve l o p m e nt d e l ays or disabilities.

“O u r g u i d i n g b e l i e f i s th a t a l l c h i l d r e n d e s e r ve to ex p e r i e n c e the arts regardless of their circumstance s,” L isa says, “O ur programmes strive to make that happen not only in theatres, but also in children’s own environments – their schools and community centres – so that dance becomes a welcome part of their lives.”

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“In the Integrated Education and Therapy Program at our school, children experience a range of physical and communication disabilities, and many require mobility devices such as wheelchairs and walkers. YOU dance gave our students the chance to leave their devices behind and stretch out their bodies in new ways while experiencing the joys of dance.”

- Teacher, Bloorview School Authority

Lisa Robinson with Participants at YOU dance Special Needs Workshop. Photo by Karolina Kuras.

Opposite: Lisa Robinson onstage at YOU dance performance.

Tene Ward at YOU dance performance.

Photos by Karolina Kuras and Edwin Luk.

Message from the Director of Development Karen Kain’s 50 th anniversar y with The National Ballet of Canada give s us c ause to ce le brate he r singular achievements as a dancer, a r tisti c l e ad e r a n d c h a m p i o n of arts and culture in Canada. In each c a pac i t y, s h e h a s stre n g th e n e d Canada’s international reputation for dance excellence.

So much of what Karen has accomplished for the National Ballet as Artistic Director stems from her unique c a re e r as a da nc e r. She was a trailblazer among Canadian dancers of her time in creating a place for herself on the world stage and she has made it her mission

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to of fe r s i m il a r o p p o r tu n i ti e s to t h e c o m p a n y to d a y. U n d e r h e r direction, the National Ballet has created more new productions and tou re d a broad mo re ex te ns i ve l y than at any other point in its history.

We are also bet ter positioned to s u p p o r t to p a r t i s t s t h r o u g h o u t their careers and to promote ballet within our dive rse communitie s.

Karen’s rich experience as a dancer and her strong standing within the world of ballet are at the heart of these transformational successes.

One of the truly special things about Karen’s performing career is that so many of you, our donors, remember

o r h e l p e d p ave th e way fo r h e r significant moments. It is an honour for me to celebrate Karen’s anniversary with donors who have supported her since her earliest days as a dancer, and now as a leader.

I hope you enjoy ever y moment of this historic anniversary season, and cherish each production – as Karen does – as a reflection of a wo nd e r f u l c a re e r fo rg e d a mo ng friends and supporters.

Diana Reitberger, CFRE Director of Development

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We did it! Soaring Campaign Exceeds $100 Million Goal!

With a goal of $100 million, Soaring is among the most significant cultural campaigns in Canadian history, designed to support artistic excellence, new productions, touring, community engagement, and the Endowment Foundation.

T h a n k s to t h e g e n e r o s i t y o f a p a s s i o n a te a n d d i ve r s e d o n o r communit y, The National Ballet of Canada exceeded its Soaring g oa l by Ju n e 3 0, 2019, r a i s in g $104 million.

Soaring has helped to establish

a strong foundation for the future.

Funds have already been used to create and acquire new productions that will be enjoyed for generations to come, including full-length ballets like Alexei Ratmansky’s Romeo and Juliet and Christopher Wheeldon’s T h e W i n t e r ’s Ta l e. T h a n k s t o Soaring, international touring is now a frequent part of the National Ballet’s schedule each season, and even more audiences are accessing the company through an array of community engagement initiatives.

With the growth in investments in the Endowment Foundation, the company can also expect to see an increased annual grant and with it more freedom to pursue exciting projects as they arise.

Thank you to all who have given so generously to Soaring. You have helped the National Ballet fulfill its ambitions to be a world leader in dance and an accessible, visionary organization for all.

“The Soaring Campaign has been the most ambitious in The National Ballet of Canada’s history, and came at a time of increased growth and international interest for the company under Karen Kain. Thanks to the incredible generosity of our donors, the company now has a solid foundation to sustain this momentum for years to come.

Thank you for helping The National Ballet of Canada to soar.”

- David Macdonald, Chair, Soaring Campaign Heather Ogden is sponsored through Dancers First by Ira Gluskin & Maxine Granovsky Gluskin.

Ben Rudisin is sponsored through Dancers First by an anonymous donor.

Heather Ogden. Photo by Aleksandar Antonijevic. Opposite: The Gretchen Ross Production Centre for The National Ballet of Canada during Doors Open.

Ben Rudisin at the Arc de Triomphe in Paris. YOU dance performance. Artists of the Ballet in Company Class. Photos by Karolina Kuras, Edwin Luk and Paul MacPherson.

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Soaring by the Numbers

Campaign Goal: To raise $100,000,000 Funds raised: $104,340,000 from 890 donors

1,357,382 Audience members 757 Performances Artistic Excellence

109 80 Performing Dancers

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Apprentices Trained

Choreographic Associates

70

Orchestra Members

22

65

Additional Musicians

19

Choreographers in the Health and Wellness Choreographic Workshop Practitioners

New Productions

48

7

New Productions

New Music Scores Commissioned

1

New Facility: The Gretchen Ross Production Centre

Community Engagement

1,270,336 Participants in Local Community Initiatives

Touring

114 34 Performances on Tour in

Cities

Endowment Growth of Endowment Foundation

190,052

$42 million

Students Reached Through YOU dance

Assets Now Totaling

$79 million*

* As of June 30, 2019.

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World Premiere: Orpheus Alive K a re n K a i n a p p o i n te d R o b e r t Binet to the role of Choreographic A s s o c i ate i n 2013 fo l l ow i n g h i s highly successful apprenticeship with Wayne McGregor, Resident Choreographer of The Royal Ballet in London. The role is part of Karen’s broader strategy to support Canadian choreographers while building a diverse repertoire for The National Ballet of Canada. Robert has created eight new ballets for the company to date, including his wildly successful par tne r ship with the A r t G alle r y of Ontario, The Dreamers Ever Leave You. This is in addition to works he has created for other top companies, including New York City Ballet, The Royal Ballet and Ballet Moscow. This fall, Robert offers a fresh take on the Greek myth of Orpheus with the world premiere of Orpheus Alive.

“What I’ve always loved about the myth of Orpheus is that you can tell it in so many different ways,” Robert says. “As long as you have an artist who falls in love, loses the person they love, tries to rescue them and fails, the centre of it remains the same – a really simple, beautiful love story that comes up against the reality of mortality.”

The essential themes of love and loss at the heart of the myth account for its staying power. In the original Greek myth, the great musician Orpheus

falls in love with Eurydice only to have her die from a snakebite. Grieving, he ventures to the under world to convince Hades and Persephone to let her go. They do so, with one caveat – Eurydice must walk behind Orpheus as they ascend, and he must not look back. But, in a moment of weakness he does look back, losing Eurydice forever.

Rober t is known to experiment with established forms, identities and narratives in his work and he does s o ag a in w i th O r p he us A l i ve. In his version, the stor y moves into th e m o d e r n wo r l d a n d O r p h e u s is por trayed as a female ar tist and Eur ydice a young man.

To help him tell the stor y, Rober t has recruited Toronto play wright Rosamund Small, with whom he collaborated on an earlier iteration of the myth, Orpheus and Eurydice, created in partnership with The Banff Centre in 2015.

One aspect of the myth to remain u n c h a n g e d i n O r p h e u s A l i ve i s Orpheus’ legacy as a gifted musician, and the new ballet puts music at the forefront with a brilliant new score from Missy Mazzoli, one of the most exciting young composers in music today. “ I w a s i n t r o d u c e d to M i s s y ’s music through her publisher and I

immediately fell in love,” Robert says.

“All at once, it made me feel like I was knocked flat on the floor and I wanted to get up and dance. I was really inspired. When I broached the topic of doing a version of the Orpheus myth with Karen, I knew right away that Missy was the person I wanted to make it with.”

Robert also benefits from years of experience with the dancers of the National Ballet in his role as Choreographic Associate. He regards them as fellow creators and invites their partnership in the evolution of his works.

“I’m luck y to have forged deep, c o l l a b o r a t i ve r e l a t i o n s h i p s w i t h the dancers of the National Ballet,” he says. “They come to the studio as co-creators in a sense, bringing th e ir ex p e r i e nc e s, histo r i e s a nd personalities to the table and to the movement. They bring characters into focus for me and help me see where they can go and how they can live.”

Excerpts of Orpheus Alive were per formed with dancers from the National Ballet as par t of the Solomon R. Guggenheim Museum’s Works & Process series in New York C i t y o n S e p t e m b e r 15 , 2 0 19 .

The event marked a first appearance at the Guggenheim for The National Ballet of Canada.

“Karen has seen and danced so much and experienced so many kinds of work that she’s been instrumental in guiding me toward focusing my work and my voice, so that I can clearly state what I am aiming to within a given ballet.”

- Choreographic Associate Robert Binet

Emma Hawes is sponsored through Dancers First by Sherry and Edward Drew.

Harrison James is sponsored through Dancers First by Lucy White.

Emma Hawes and Harrison James in Orpheus Alive. Photo by Karolina Kuras.

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“Rob is an exceptional collaborator.

It’s exciting to work with someone like him who can give me the space, freedom, confidence and courage to do something new.”

– Missy Mazzoli

Missy Mazzoli: Making the Classical Contemporary Missy Mazzoli is at the frontlines of new music trends in composition, and it seems there is almost nothing that she cannot do well. Born in Pe n n s y l v a n i a , s h e i s t h e M e a d C o m p o s e r-i n - R e s i d e n c e fo r th e Chicago Symphony Orchestra, the founder and keyboardist for Victoire, h e r e l e c tro - a c o u s ti c b a n d, a n d the first of two women to receive a commission from the Metropolitan Opera House. Her compositions for opera, film and television have earned recognition worldwide and in 2018, she was nominated for a Grammy.

And she is not yet 40.

“All of my music, whether it’s opera or just a piano solo, is inspired by human beings and what we go through as human beings,” Mazzoli says. “The first step for me is always getting into the minds of my characters.”

This fall, audiences will experience Mazzoli’s first score for ballet, which she has created for the world premiere of Robert Binet’s Orpheus Alive. She says she worked closely with Robert

to determine what the music should reveal about its famous characters, Orpheus and Eur ydice, and their tragic fate.

“The question for me when I was writing this was, how much information do I need to communicate through the music itself? Because there’s so much happening on stage, with costumes, sets and lighting, what do I need to say? And that changes throughout the ballet. There are times when it’s really dense and I’m really giving you a lot of story through the music itself. And at other times I just move the music to the background and let the choreography carry the narrative forward.”

Composing the score also meant confronting the enormous musical legacy of the Orpheus myth, which has been reproduced in music since ancient times.

“Instead of running away from that or pretending that’s not the case, we decided to embrace it,” she says.

“So, you’ll hear lit tle snippets of

previous versions – bits of the Gluck opera or inspiration from Monteverdi.

I h o p e p e o p l e p i c k u p o n th a t, because it’s the backbone of the whole piece, this history of the myth as told in music.”

With new scores, visiting composers also collaborate closely with The National Ballet of Canada O rc h e s tr a u n d e r th e l e ad e r s h i p of M u s i c D i re c to r a n d Pr i n c i p a l Conductor David Briskin.

“Of ten when you work with an orchestra the experience is rushed,” Mazzoli says. “You have very little time and maybe you get to communicate 50 percent of the changes you want to make or the ideas you have. But h e re i t’s s u c h a n o p e n, re l a xe d environment. That’s a testament to David’s approach to rehearsals and to the players, who are also very open and invested in making a good piece.

It’s such a unique experience, to go deep into the orchestra and do new things. I have them making all sorts of crazy, crazy sounds.”

Missy Mazzoli in rehearsal for Orpheus Alive. Photo by Anne-Marie Jackson.

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Corps Q & A: Larkin Miller How did you fir st get involved with dance?

I started with sports – baseball, basketball and soccer – that I could play year round in Los Angeles’ warm weather. My dad coached me, but we’d also groove to “Back in the U.S.S.R.” by The Beatles as we bounced around on the furniture. My mom also provided me with artistic influences because she was an actress (she still helps me explore physical theatricality today).

In G rade s 7 and 8, I be came involved in musical theatre at my school. My shining moment was play ing the Pha r aoh in Jo s e p h a n d t h e A m a z i n g Te c h n i c o l o r Dreamcoat. It was my first taste of dance and I found it the most fun part of the whole experience.

A teacher suggested I audition for the L.A. County High School for the Arts because I had the body and feet for dance. My mom tried to dissuade me by saying that it’s hard to make a living in the arts, but my dad said to give it a shot. I had always used my body in a bunch of different ways for various sports, but dance was by far the hardest thing I’d ever done with my body.

It was a new challenge and I was hooked. My Grade 9 year was a huge physical and mental transition for me.

What did you gain from your apprentice years and experiences in YOU dance?

M y ex p e r i e n c e s o f T h e R B C Apprentice Programme and YOU Born: Los Angeles, California Trained: The School of American Ballet and American Ballet Theatre Jacqueline Kennedy Onassis School, New York City Joined: 2016 Corps de Ballet since: 2018

d a n c e we re p h e n o m e n a l. I fe l t welcomed and comfortable, much as in a family. Plus we had YOU dance Ar tistic Director Lindsay Fischer providing guidance and care for our physicality and emotional life. The intensity and endurance required for YOU dance performances and company shows were inspiring.

I also loved talking to students after the shows and realizing that w e’d h a d a n i m p a c t o n t h e m .

The best shows were the relaxed pe r for mance s for childre n with autism and special needs. Af ter the performance we invited them to come onstage and dance with us.

Even though some of the kids were non-verbal, they understood music and had incredible musicality and rhythm. The connection I felt with them was beautiful.

W h a t d o yo u a p p r e c i a te m o s t about the National Ballet?

The Artistic staff trusts us and respects us in terms of process, schedule, timeline and knowing our bodies. We’re given space and freedom as artists and individuals

to strive for greatness, personal self- expression and our own commitment to the art form. We all have an inherent power being part of the company, and in return we have the individual responsibility to be strong and prepared.

I’m star ting my second year in the Corps de Ballet and I have been cast in the pas de six for men in Petite Mort. I really appreciate the opportunity for an elevated level of responsibility like this.

A s a C o r p s m e m b e r, I a l s o appreciate the watchful eyes of our more senior dancers. Every Principal Dancer cares about who I am and offers corrections. They are happy and willing to bestow knowledge and teach from their experience.

Piotr Stanczyk, for example, is such a g i v i n g s p i r i t i n te r m s o f t h e mentorship he offers. He will help me fine tune my movements and explore my artistry. “Feel this,” he’ll say, or “play with this.” He’s not telling me what to do but exploring with me. I feel like we are innovating together. To me, that creativity is what art is all about.

Larkin Miller. Photo by Karolina Kuras.

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International Masterworks

A s a d a n c e r, K a r e n K a i n collaborated with the leading choreographers of her time, gaining valuable international exposure and honing her artistr y on challenging repertoire. As Artistic Director, she is committed to acquiring new and legacy works that present similar opportunities for dancers today and will expose audiences to the full range of ballet. This fall, The National Ballet of Canada presents a selection of shor t works from influential choreographers around the world, including two company premieres: Chaconne and Petite Mort, as well as Etudes and Piano Concerto #1.

George Balanchine created the

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opening pas de deux in his 1976 ballet Chaconne for his long-time muse, former New York City ballet d a n c e r S u z a n n e Fa r r e l l, a n d i t has acquired a cer tain my thology among dancers. Loosely based on the O r pheus my th, Chaconne is a celebration of movement, from the lyrical prologue right through to the final movement or “chaconne,” a festive ensemble of dances. Principal Dancer Heather Ogden and Corps de Ballet member Giorgio Galli have both performed Chaconne as guest artists with Suzanne Farrell’s company i n N e w Yo r k C i t y, w i th H e a th e r dancing Farrell’s role. It is partly for Heather that Karen Kain has brought

Chaconne to the National Ballet for the first time this season.

Etudes is the quintessential “classroom ballet,” a type that shows how dancers hone their technique in the studio and transfer it to the stage. Created in 1948 by the Danish c h o r e o g r a p h e r H a r a l d L a n d e r, Etudes follows the arc of a ballet class, beginning with a simple barre warm-up and progressing through complex exercises that culminate in a thrilling finale. Few ballets celebrate ballet technique so entirely as Etudes, and it has long been Harald Lander’s most popular work. The National Ballet of Canada first per formed Etudes on February 27, 1980 with

The National Ballet of Canada

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Karen Kain in the leading role.

One of the choreographers Karen most enjoyed work ing with as a dancer was the Czech-born director of the Nederlands Dans Theater, J i ř í Ky l i á n, w h o f i r s t v i s i te d th e company in 1988 to set his ballet Forgotten Land, followed by Dream Dances in 1989 and Soldiers’ Mass in 1995. With this season’s company premiere of Petite Mort, audiences will see Kylián’s master work and gain a better sense of his distinctive blend of classical, contemporar y and folk dance aesthetics. Playing with the inference of orgasm in the phrase “petite mort” or “little death,” the ballet features six women, six men, six fencing foils and an assortment

of extravagant black dresses that acquire a reality of their ow n. Ky liá n cre ate d Peti te Mor t to mark the anniversar y of Mozar t’s death, set ting it to t wo of the composer’s most beautiful Piano Concertos.

Karen Kain acquired P i a n o C o n c e r t o #1 b y A l e x e i R a t m a n s k y i n 2 0 15 f o l l o w i n g his high-profile creation of Romeo and Juliet for the company in 2011.

It is the third par t of his famous S h o s t a k o v i c h Tr i l o g y, i n w h i c h he pays homage to his favourite c ompose r, D mitr i Shosta kov ic h, and to his native Russia.

A group of three discrete ballets, the tr ilog y evoke s the str uggle s

a n d tr iu m p hs of S h o sta kov i c h’s life under Stalin’s rule, aided by G e o rg e Tsy p i n’s i n g e n i o u s s ets and costumes. Piano Concerto #1, w h i c h p re m i e re d w i th A m e r i c a n Ballet Theatre on May 31, 2013, contains some of Ratmansky’s most beautiful and abstract choreography.

Individually, each of these ballets brings new challenges to the artists of the National Ballet and opens a window into the broader world of dance for audiences. Together, they reflect Karen’s particular history as a dancer and her success at establishing the National Ballet as a desirable par tner for leading choreographers around the world.

Elena Lobsanova is sponsored through Dancers First by Sandra Faire & Ivan Fecan.

Svetlana Lunkina is sponsored through Dancers First by Anna McCowan-Johnson & Donald K. Johnson, O.C. Jenna Savella is sponsored through Dancers First by Elvio & Marlene DelZotto.

Opposite: Karen Kain with Artists of the Ballet in Etudes (1980). Photo by Barry Gray. Elena Lobsanova and Jenna Savella in Etudes.

Photo by Cylla von Tiedemann. Artists of the Australian Ballet in Petite Mort. Photo by Jess Bialek. Harrison James and Svetlana Lunkina in Piano Concerto #1.

Photo by Karolina Kuras. Alexei Ratmansky with Karen Kain in rehearsal for Romeo and Juliet (2011). Photo by Karolina Kuras.

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Dancer Profile: Sonia Rodriguez Celebrating 30 Years With her ef for tless physicality and total commitment to her characters, Principal Dancer Sonia Rodriguez is one of the m o s t ve r s a t i l e d a n c e r s a t T h e National Ballet of Canada. In her 30 years with the company, she has per formed leading roles within classical and contemporary r e p e r to i r e s a n d s h e c o n t i n u e s to create new work with visiting choreographers.

“ I n a d d i t i o n to g r e a t g e n e s and good for tune, I credit my longevity in this career to being o p e n - m i n d e d ,” S o n i a s a y s . “ I have remained committed to who I am and being true to myself but I have also re cognize d that it’s important to discover new things and challenge myself. I appreciate the oppor tunities to explore new characters, new works and new ways of movement. Even in class,

I’ll try a pirouette in a different way, or see something another dancer is doing and want to try it. I don’t want to be complacent in how I’ve always done things.”

In celebration of her 30th anniversary with The National Ballet of Canada, Sonia reflects on some of the roles, ballets, people and m o m e n t s t h a t h ave i n f l u e n c e d her career.

Sonia Rodriguez. Photo by Karolina Kuras.

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Giselle (2000) I initially found the Romantic style of Giselle the hardest of all the fulllength ballets to understand in terms of the essence of the movement.

The process of learning it was very challenging. It took a lot of homework and rehearsal to make it feel second nature. Once I had it, I felt it was part of me and coming back to it is always rewarding.

The character of Giselle has many colours, as she transforms from the youthful peasant girl of Act I to the ethereal spirit of Act II, plus the “mad scene” in between. It’s so beautiful to embody all of that and to explore the dramatic possibilities in her transformation. The purity of the technique makes the role demanding

both physically and artistically: the jumps, the pointe work, the beautiful lifts, the style and quality of the port de bras, the necessity for fluid landings. I need power and strength for the technique and yet have to make it seem effortless and light.

Because of the beautiful role and all the challenges, I feel quite fulfilled at the end of a performance.

Because Giselle was meaningful to my career, I’m proud to return to the role for this anniversary. This ballet was a tipping point in my artistic development: a role I was given an opportunity to step up to and I was recognized afterward with a promotion to Principal Dancer.

Reid Anderson (Artistic Director, 1989 – 1995) When Reid introduced John Cranko’s ballets to the repertoire – The Taming of the Shrew (1992) and Romeo and Juliet (1995) – I enjoyed the strong character roles that came with them. I started to realize that I had the ability and the hunger to layer character work over the

physicality. I really like to explore human nature – to find out who these characters are and how they fit into and propel the story. Cranko’s pas de deux are so well structured and they are great vehicles to tell the story and to express a character.

The Sleeping Beauty (1997) Like Giselle, my first opportunity to perform Princess Aurora came at a point when I really had to prove myself.

When the opportunity arose for me to do Aurora, I was determined to show that I was deserving of the role, that I could grow as a dancer and become the artist I wanted to be.

The Sleeping Beauty always felt right st yle -wise for me and the choreography and technique were compatible with the way I move. The execution has to be pure; there are no gray areas. But I take satisfaction in knowing exactly what is required.

Aurora is always a joy to perform.

James Kudelka (Artistic Director, 1996 – 2005) James challenged us with his choreography and definitive ideas, and the company really developed by creating and performing so many of his works. Over years of collaboration with him, the da nc e r s c a me to understand his work deeply. He was developing as a choreographer at the same time, experimenting constantly,

and we felt inspired to be involved.

He saw the individual abilities and strengths in each of his dancers.

He also pushed and encouraged us to find within us what he wanted.

There was a deep feeling of understanding and mutual growth within the company during his years as Artistic Director.

From top: Giselle (2000). Romeo and Juliet (2001). Photos by Cylla von Tiedemann.

With Piotr Stanczyk and Artists of the Ballet in The Sleeping Beauty (2015). Photo by Karolina Kuras.

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Diamonds (2000) I was not necessarily seen as a Balanchine dancer until Suzanne Farrell came to set Jewels for the company. In fact, I didn’t consider myself a Balanchine dancer either until she pushed me. I was originally cast in a demi-soloist role, but

Suzanne moved me to the lead couple. I learned it in a day and did a run through the next day. After that, I was seen in a new light.

In addition to her belief in me, Suzanne also had a wonderful approach. She passed

on information that was key to the work without imposing herself on my st yle or inte r pretation. She helped me find my way into the work as an individual, and as a result, to see myself differently as a dancer.

were finishing the last position, I was flooded with emotion.

I was exhausted yet so present and fulfilled. With stor y ballets, I expect that emotional journey, b u t I d i d n’ t w i t h t h i s a b s t r a c t

piece. I was so grateful that I achieved this remarkable journey for myself and for the audience.

It was so rewarding as an artist to experience a moment like that.

Opus 19/The Dreamer (2005) Opus was a revelation for me – I loved the physicality, music and dynamism of the piece in rehearsal but then transcended all of that onstage during my f i r s t p e r f o r m a n c e . J u s t a s we

24 Preludes by Chopin (2008) Marie Chouinard has a very unique creative process and I needed to immerse myself in it. I had to strip away any preconception of myself and my personal goals in order to throw myself into he r vision a n d h e r way of m ove m e nt a n d expression. I found the resulting piece was extremely powerful with strong imagery and vocabulary that was relatable, though definitely

not typical. 24 Preludes touched everybody on multiple levels.

In one of the preludes, I played a poet who speaks through improvisation, using only the notes of the scale – do, re mi, etc. The poet struggles to be heard but feels an urgent need to express her creativity.

Because she keeps get ting cut of f, she becomes defeated and speechless and eventually still.

She experiences an internal struggle but not much happens physically.

In that moment, I had to be committed to the thoughts and feelings, and to allow myself to be honest and vulnerable. It was so powerful simply to stand there and be pre sent.

I d i s c ove r e d h o w m u c h c o u l d be projected to the audience without movement.

Left: With Former Principal Dancer Zdenek Konvalina in The Seagull (2008). Photo by Cylla von Tiedemann. Top right: With Naoya Ebe in Opus 19 / The Dreamer (2014). Photo by Jeremy Mimnagh. Bottom right: With Artists of the Ballet in 24 Preludes by Chopin (2008). Photo by Sian Richards.

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John Neumeier, Choreographer

Karen Kain

John is very intellectual. He asks the dancer to do a lot of work to understand a character’s intention.

There is no empty movement – every single step must reflect who the characters are, their understanding of themselves, their relationships and their stories. Within his work, there is a lot of room for the dancers to explore and discover the characters.

And what rich characters: Nina in The Seagull (2008), who goes through so much change, Romola in Nijinsky (2013), Blanche in A Streetcar Named Desire (2017), the most theatrical production we have in the repertoire, and the complex individual, Anna Ka r e n i n a (2018). Ta k ing o n the challenge of Neumeier’s characters feels like a big responsibility but it’s so rewarding to make them my own.

I came into the company ver y young, after growing up in Spain.

I looked up to all the wonder ful artists here, including Karen during the last seven years of her career on stage. During a tour to Europe and Israel in 1994, I remember that we gathered in the wings to watch her perform Aurora in The Sleeping Beauty. Her artistry was beautiful and inspiring. I was able to share some magical moments onstage with her and learned from her experience, as in The Taming of the Shrew and pe r for ming O lga to he r Tatiana in Onegin.

S h e h a s s u c h a l ove f o r t h e company; it has been wonderful to see her carry that forward into her role as Artistic Associate and then as Artistic Director. She had a long dancing career herself, so she has first-hand knowledge of the ups and downs of our lives, what a dancer goes through and an understanding of what a mature artist can offer.

Plus, I appreciate working for a woman and my relationship with her as a female artist. Her knowledge, support and inspiration have been very valuable to me.

Sonia Rodriguez outside the Bolshoi Theatre in Moscow (2018). Photo by Karolina Kuras.

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Charles Pachter’s Moose Lake Pas de Deux Canadian contemporar y ar tist Charles Pachter created Moose Lake Pas de Deux in 2009, pairing a moose with Karen Kain in an iconic pose from Giselle. The image may appear incongruous at first glance but not in the context of Pachter’s body of work, which is celebrated for its humour, colour and play on Canadian archetypes.

“I grew up in the era of pop art,” Pachter says. “As I was coming into my own a s a young a r tist, Canada was inundated with work from other places. It was a source of frustration for me. There was a prevailing attitude that if it came from elsewhere, it was consequential; but work from a Canadian artist often elicited the response: ‘Who do you think you are?’”

Pachter has crusaded for greater Canadian representation in the art world throughout his career. “I’m fascinated with the moose as an allegorical creature for Canadian identity,” he says. “It’s big, both awkward and gracious at the same time and it’s hardly ever seen. But if you do see one, it’s majestic.”

“I’ve turned the moose into a pop art symbol,” he continues. “I’ve made it glamourous.” In addition to pairing the moose with Queen Elizabeth in several paintings over the years, he has also included Barbara Ann Scott, Adrienne Clarkson, Michaëlle Jean and the CN Tower in his moose paintings.

Why Karen Kain? “She’s a great person and performer, a true original and fun to be with,” he answers. He created Moose Lake Pas de Deux as a play on Swan Lake pas de deux.

“It’s been my greatest pride,” he says, “to lift up Canadian symbolism and make it into art.”

Moose Lake Pas de Deux (2009).

Photo courtesy of the artist.

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The National Ballet of Canada

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The National Ballet of Canada

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Volunteer Profile: Jen Lee Koss Member, Board of Directors How did you first become involved with ballet?

I was introduced to The National Ballet of Canada two years ago by a friend, Emily Burnet t. She wa s c o - c h a i r of th e M A D H OT BALLE T gala with her husband, J o n a t h a n B l o o m b e r g, a n d s h e asked me to be on the committee.

I had no idea what that entailed, but I said yes! That summer a n o t h e r d o n o r, Ly n d a P r i n c e , approached me about serving as co-chair of the 2018 gala for the following year. I was completely f l o o r e d a n d I c o u l d n’ t s ay n o!

It was an honour to be part of that event in such a major way. I have been a super fan of the company ever since.

How does ballet inspire you?

I was a cellist in my past life. From when I was 10 until I was 26 I was focused on it entirely, from my days at The Juilliard School’s pre-college division to studying music as both an undergraduate at Harvard and later at Oxford for my MPhil. I have always been inspired by the fact that ballet marries music and movement in a musical, visual and physical way.

W h a t do yo u a p p r e c i a te m o s t about The National Ballet of Canada?

I am so in awe of the organization and the calibre of the staff. Every interaction I have ever had internally has been such a pleasure, and I am so grateful for the ways in which they let me know how I can be helpful to them. Sometimes, as a volunteer, it is hard to know how or what you can contribute, but I find that I have such great relationships that I am clear on what I can do to be valuable.

What do you hope your contributions will accomplish?

As a member of the Board and Jen Lee Koss. Photo by Adam Moco.

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as a volunteer, I find that what I am giving mostly is my time, which right now – with four young children and my own business – is everything.

What satisfaction do you derive from being a donor?

I love seeing how the organization is growing, adapting and thinking ahead to how they might do better, be bet ter and more relevant.

There is so much passion here and it shows.

Announcing The Karen Kain Legacy Fund K a r e n K a i n’s te n u r e a s A r ti s ti c D ire c tor of T he National Ballet of Canada has been marked by a rare mix of audacious artistic vision and an unwavering commitment to the long-term financial sustainability of the company.

In recognition of her unique dual legacy, The National Ballet of Canada Endowment Foundation has created a $10 million fund, to be known as The Karen Kain Legacy Fund. To match her desired legacy, the fund will consist of two parts – the Artistic Innovation Fund to support visionary ideas and the Financial Resiliency Fund to ensure financial stability.

To learn more, contact: Diana Reitberger Director of Development dreitberger@national.ballet.ca 416 345 9686 x306

Hannah Fischer is sponsored through Dancers First by an anonymous donor.

Hannah Fischer and Karen Kain. Photo by Karolina Kuras.

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Rolex Dancers First Award & Dinner The National Ballet of Canada is proud to share that Principal Dancer Harrison James is the recipient of the 10th annual Rolex Dancers First Award. Sponsored by Rolex Canada , this award re cognize s outstanding performances in the previous season and is juried by a committee of members of the National Ballet’s artistic staff.

Mr. James was recognized for the dramatic power, impeccable technique, intense musicalit y and artistic authenticity in his outstanding performances as Alexei Vronsky in Anna Karenina, Oberon in The Dream and the

title role in Apollo. The award was p r e s e n te d by M a x i m L a m a r r e , President and CEO of Rolex Canada, and Artistic Director Karen Kain at the annual Dancer s Fir st dinner for dancers and their Dancers First sponsors on Monday, September 23, 2019. At the ceremony, Harrison was presented with a specially engraved Rolex watch.

The Dancers First programme suppor ts all the dancer s of the National Ballet with funds for ar tistic development and health and wellness resources. Currently, there are 31 dancers generously sponsored through Dancers First.

Since its inception, Rolex has encouraged individual excellence and the pursuit of per fection.

In keeping with this long tradition, R o l e x c o n t i n u e s to c o n t r i b u te to the ar ts world through its various sponsorship activities. Rolex Canada has generously sponsored the Rolex D a n c e r s Fi r st Awa rd since 2010.

The Rolex Dancers First Award is generously sponsored by

RBC Emerging Artist Apprentice Award Congratulations to Genevieve Pe n n N a b i t y a n d N o a h Pa re t s, recipients of the seventh annual RBC Emerging Artist Apprentice Award.

Presented at the 2019/20 Season Opening Party, the award recognizes members of the RBC Apprentice Programme for their ar tistic growth, professional development and exceptional talent during the previous season. The award was

presented by National Ballet Board Chair Cornell Wright and Flora Do, Vice President, Strategy & Client Insights, RBC Wealth Management.

The RBC Apprentice Programme is sponsored by The RBC Emerging Artists Project.

Top left: Karen Kain, Maxim Lamarre and National Ballet dancers. Top right: Harrison James, Karen Kain and Maxim Lamarre, President and CEO, Rolex Canada. Bottom: Flora Do, Vice President, Strategy & Client Insights, RBC Wealth Management, Genevieve Penn Nabity and Noah Parets.

Photos by Alana de Haan and Christina Gapic.

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The National Ballet of Canada

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In Brief Orpheus Alive at the Guggenheim’s Works & Process Excerpts from Orpheus Alive by Choreographic Associate Rober t Binet, Composer Missy Ma z zoli and dramaturge Rosamund Small we re p e r fo r m e d a s p a r t of th e Solomon R. Guggenheim Museum’s Wo r ks & Pr o c e s s s e r i e s a t th e Peter B. Lewis Theater, New York

City, on September 15, 2019. The per formance featured music by Pianist Andrei Strevliaev and the Mivos Quartet, and was followed by a d i s c u s s i o n m o d e r a te d by Associate Ar tistic Director of New York City Ballet, Wendy Whelan.

Upcoming Events Turnout Friday Night Theatre Experience Friday, November 8, 2019 | 7:30 pm Four Seasons Centre for the Performing Arts

The Music Circle: Orpheus Alive Orchestra Rehearsal Wednesday, November 13, 2019 | 11:30 am Four Seasons Centre for the Performing Arts

Friends’ Corps Backstage Tour: Orpheus Alive Saturday, November 16, 2019 | 10:00 am Four Seasons Centre for the Performing Arts

Dress Rehearsal: Etudes & Piano Concerto #1 & Petite Mort Tuesday, November 26, 2019 | 8:00 pm Four Seasons Centre for the Performing Arts

The Patrons’ Council: The Nutcracker

Skylar Campbell and Jaclyn Oakley Wed C o n g r a t u l a t i o n s to P r i n c i p a l Dancer Skylar Campbell and Corps de Ballet member Jaclyn Oakley, who tied the knot on June 30, 2019 in the Los Angeles Arts District, in Skylar’s home state of California.

The couple met in 20 09 while dancing at the Banf f Centre for Arts and Creativity’s Summer Arts Festival prior to joining the National Ballet as RBC Apprentices.

Piano Dress Rehearsal Wednesday, December 11, 2019 | 2:00 pm Four Seasons Centre for the Performing Arts

Friends’ Corps: Facebook Live Monday, January 20 | 6:30 pm Friends’ Corps Facebook Group Live from the Walter Carsen Centre

Please RSVP >> Via ‘My Account’ at national.ballet.ca >> By phone: 416 (1 866) 345 9595 or the Patron Hotline >> By email: friendscorps@national.ballet.ca

A Baby Boy!

or patrons@national.ballet.ca or turnout@national.ballet.ca

First Soloist Alexandra MacDonald welcomed a baby boy, August (Gus), on July 31, 2019. Congratulations to Alex and her husband Wayne.

Top: Harrison James, Sonia Rodriguez and Heather Ogden in Works & Process at the Guggenheim.

Middle: Skylar Campbell and Jaclyn Oakley. Bottom: Baby August. Photos courtesy of the dancers.

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Every child deserves

Dear Sugar Plum fairy, my name is Deja and I am so amazed that I am going to see you, or even getting to be in the same room as you.

I am so glad that I got to be chosen. Thank you so much.

Last year, Deja attended Share the Magic, a special programme designed to invite children and their families to see their first ballet and to experience the beauty and wonder of The Nutcracker.

Deja was invited through

Equal Opportunity, one of many community organizations that help distribute Share the Magic tickets to children who are coping with socioeconomic or health challenges.

Watch Deja’s story and learn

Watch Deja’s Story: national.ballet.ca/share The Walter Carsen Centre for The National Ballet of Canada 470 Queens Quay West Toronto, Ontario, Canada M5V 3K4

Audience and Donor Services 416 345 9595 Out of Town 1 866 345 9595 national.ballet.ca

The National Ballet of Canada is a registered charit y.

Charitable Registration Number 11905 1449 RR0 0 01

how you can help connect children to the power of live per formance and give t h e m a n e x p e r i e n c e t h e y ’l l never forget.

Deja at Share the Magic.

Photo by Anne-Marie Jackson.