Preview | Spring 2019 - Issue 47

Preview A publication for our donors / Issue No. 47 Spring 2019

The

Donor Issue

In Your Words

Donors Set the Stage for Excellence

The Soaring Campaign

By Jerry & Joan Lozinski,

The National Ballet of Canada benefits daily, in ways large and small, from a diverse and passionate donor community united by a love of great dance. Donors helped to found this company in 1951 and they continue to fuel its success today, as Karen Kain pursues unprecedented opportunities for production building, creative collaborations, touring and outreach. Together, donors are creating a new era of excellence for a company we all care for deeply and hold in high esteem.

With this in mind, it is my pleasure to present the first donor issue of Preview magazine, written by our friends within the community. It is a testament to the generosity of our donors – their willingness to give unreservedly when it comes to the National Ballet – that they have stepped forward to write these articles. I hope you will recognize

David Macdonald.

Photo by Sian Richards.

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your own love for ballet in their words and feel connected to the many groups and individuals who stand with you in supporting this company.

As we move toward spring and the close of the Soaring Campaign, I want to extend my sincere gratitude to all who have stepped forward to help the National Ballet rise to new heights of excellence at home and on the world stage. For those who have yet to join Soaring, I invite you to take this final opportunity to contribute to the most ambitious fundraising campaign in the company’s history and help The National Ballet of Canada to soar for generations to come.

David Macdonald Chair, Soaring Campaign

Soaring Campaign Champions We believe in the vital role of the arts in society and have a de ep pas sion for dance in par ticular. That is why we are proud to support The National Ballet of Canada. Over the years, we have given our time and our resources with the philosophy that we will give to what we believe in. The reward we feel in return is simply amazing. For all the pleasure The National Ballet of Canada has given us since the first performances we attended, we want to demonstrate our appreciation.

Watching dance, we recognize and value the strength and power of the physicality of the art form, the visual impact of the lighting and design elements, the beautiful music and the journey that each individual choreographer takes us on. At the National Ballet, we are always inspired by the excellence we see on stage, the ongoing dedication to creativity and innovation and, on the practical side, the commitment to fiscal balance.

As we’ve become more involved w i th th e N a ti o n a l B a ll e t, we have enjoyed a powerful feeling of engagement that comes from knowing we belong to something impor tant. The friendly spirit in the company, amongst the donors as well as the artists, is truly contagious.

In 2006, we decided to make a leadership gift to The National Ballet of Canada, Endowment Foundation. At that time, we felt confident in the governance of the organization as well as its direction both artistically and financially. We wanted to make a gift that would help the organization capitalize on its strengths and provide it

The National Ballet of Canada

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Contents 2 2 4 6 7 8 9 10 11 12 13 14 16 18 19 21 22

Message from David Macdonald The Soaring Campaign Farewell to Xiao Nan Yu Dancers First The Merry Widow A Tribute to Sandra Faire Physical Thinking Esprit de Corps Corps Q&A: Jeannine Haller Turnout Erik Bruhn Prize MAD HOT BALLET International Friends

with the confidence to dream big and fulfil its strategic goals. Little did we know at the time that our gift would initiate a campaign to build the Endowment and the artistic capital (new productions and increased dancer/musician resources) of the company and become the Soaring Campaign with a goal of $100 million.

We have all witne s se d and enjoyed the company’s remarkable a c h i e v e m e n t s u n d e r K a r e n ’s leadership – an unsurpassed level of dancing, the development of groundbreaking new productions, many appearances on the world stage and a leadership role in promoting movement, imagination and creativity to children and students in our communities.

The company is in a wonderful position right now with an environment that nurtures artists, creates opportunities, and engages audiences, donors and volunteers – this has moved us to offer significant suppor t once again. We want to Jerry and Joan Lozinski. Photo by Bruce Zinger.

e nsure that the National Ballet sustains this incredible momentum and continues to make investments in creativity for years to come.

Under the leadership of David Macdonald, who has chaired the Soaring Campaign from the ve r y b e gin nin g, a s we ll a s th e leadership of others, we are now in a position to complete the campaign.

We would like to encourage all friends of the National Ballet, whether subscribers, single ticket buyers, donors or volunteers, to be par t of this momentous occasion. That is why we are matching all donations to the Soaring Campaign dollar for dollar up to $1 million.

To g e t h e r w e c a n c l o s e t h i s historic and transformational fundraising campaign by June 30.

T h e c a m p a i g n’s c o n c l u s i o n , however, is only the beginning of an exciting new era of excellence for all of us who care deeply about The National Ballet of Canada.

Creeds A Legacy of Giving Upcoming Events In Brief

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: Xiao Nan Yu. Photo by Karolina Kuras.

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Farewell to Principal Dancer Xiao Nan Yu

By Gillian Bartlett, Patrons’ Council Member This coming June, Xiao Nan Yu – o r “ N a n” a s s h e i s m o r e affectionately known – will take to the Four Seasons Centre stage for the final time when she reprises her role as Hanna in The Merry Widow.

After 22 years with the company, Nan is hanging up her pointe shoes and moving on to new adventures.

Born in Dalian, China, Nan started dance classes at the age of five. When the depth of her talent became clear, her parents risked everything and sent her to board at the Beijing Dance Academy. Eightyear-old Nan was terribly homesick, but her passion for dance won over.

Ten years later, that same passion i m p e l l e d h e r to m a ke a n e ve n bigger leap, and she flew halfway around the world to accept a place at Canada’s National Ballet School (NBS), undaunted by the fact that

she spoke not a single word of English at the time.

Nan’s incredible determination may be traced to her parents, who m ade s ac r if ic e s to ke e p he r in school. So, when Nan graduated from NBS, her first concern was to stop being a financial burden.

Aware that positions in the corps we r e n o t b e i n g o f fe r e d d u e to changes in leadership at the company, she approached Artistic Director of NBS, Mavis Staines, to ask if she could get a job teaching at the school. “Mavis just smiled,” says Nan, beaming at the memory. “ S h e s a i d I wo u l d h ave a l o n g career and that it would be many years before we would be having this conversation about teaching.”

And how right Mavis was.

Over the years Nan has da nc e d eve r y major role in the

The Sleeping Beauty (2018).

cla s sic a l re p e r toire. Bu t a s we speak, her thoughts move to more contemporar y works, like C h r i s t o p h e r W h e e l d o n ’s T h e Winter’s Tale. Close to her own serene nature is Paulina, a role for which her nuanced per formance garnered critical acclaim. But her favourite role to dance, above all, is Tatiana from John Cranko’s Onegin.

In fact, when I ask her what she will miss most about leaving the stage, s he m e ntio n s a m o m e nt at the end of Onegin: “I don’t ask myself whether I am on the right spot, or if my arm is in the right position. I just feel that connection with the audience, sharing with them the passion of her emotions. And in that moment, I AM Tatiana.”

While Tatiana is a favourite role, Nan is happy to be le aving the stage as Hanna, a character for

The Winter’s Tale (2015).

Oneginof(2003).

Artists San Francisco Ballet in Night. Photo by Chris Hardy.

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Giselle (2007).

The National Ballet of Canada

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whom she feels enormous empathy.

“I don’t want to leave in tears as Tatiana. Hanna is a mature woman with a new life ahead. And I feel that reflects who I am and where I’m going.”

Most importantly, Nan will have m o r e t i m e fo r h e r f a m i l y – h e r p a r e n t s , h e r h u s b a n d a n d t wo young girls. To her mind, it is time to give back to both them and her profession and to all those teachers, sponsors and colleagues who have so generously supported her along the way. Happily, though, she doe sn’t imagine leaving the world of dance altogether. And the circle may just be complete i f s h e d o e s i n d e e d f i n a l l y tu r n to teaching.

Photos by Aleksandar Antonijevic, David Cooper, Sian Richards, Karolina Kuras and Cylla von Tiedemann.

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Connections: The Pleasure of Being a Dancers First Member

By Donna Meyers, Dancers First Sponsor of Kathryn Hosier When I think about why the Dancers First programme has been so meaningful to Doug and me, the word that first comes to mind is connection.

At the core of the programme is the wonderful personal connection you fo rge with you r sp on s o re d d a n c e r. Fr o m “c h o o s i n g ” yo u r dancer under the guidance of Karen Kain and the wonderful people in the Development Depar tment, to getting to know the dancer both personally and professionally, to cheering them on as they progress in their career, you find unique and rewarding moments at every stage.

I extoll the virtues of “our dancer” to those sitting beside us at the Four Seasons Centre, even though they are complete strangers. Doug’s arm is frequently black and blue from my nudging and whispering, “there she is” during performances.

The connection extends to the

camaraderie and friendship of fellow Dancers First members. It is a relief not having to explain our crazy love for this beautiful ar t form. We’ve met wonderful people through the various Dancers First events and on trips accompanying the company on tour, and we can always count on seeing a friendly face in the Jackman Lounge at intermissions.

Our favourite event of the year is the Rolex Dancers First dinner, a delightful and moving celebration of the connection between dancers and dance lovers.

F i n a l l y, we f e e l l i ke we h ave become more connected to the company as a whole. Chatting with Karen and the other artistic staff as well as Executive Director Barry Hughson and his administrative team gives us further insight into the workings of The National Ballet of Canada. Diana Reitberger, Joanna Ivey, Kate Halpenny and everyone in

the major gifts area are so genuine, friendly and welcoming. The donor r e c o g n i t i o n h a s e xc e e d e d o u r expectations. When they talk about Dancers First members being part of The National Ballet of Canada family, they mean it. Gretchen Ross was really onto something when she created this programme. Thank you, Gretchen.

We have develope d such a wo n d e r f ul c o n n e c ti o n wi th o u r sponsored dancer, Second Soloist K a t e H o s i e r. S h e i s b e a u t i f u l outside and in. Watching her on stage and as she takes on different roles adds a whole new and p e r s o n a l p l e a s u r e to wa tc h i n g ballet. I’ve been watching ballet for some 50 years, while Doug saw his first performance just a few years ago. For both of us, Dancers First has heightened and amplified our connection to ballet and The National Ballet of Canada.

Kathryn Hosier is sponsored through Dancers First by Donna Meyers & Doug Richmond.

Donna Meyers, Kathryn Hosier and Doug Richmond. Photo by Bruce Zinger.

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The National Ballet of Canada

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The Merry Widow

By Karen Sparks, President, The Volunteer Committee The National Ballet of Canada It wa s 3 3 ye a r s a g o th a t th e curtain went up on Ronald Hynd’s magnificent ballet The Merry Widow, marking an important moment in The Volunteer Committee’s long history of support for The National Ba llet of Ca nada . At that time, The Volunteer Committee was 10 years into its mandate to fund new reper toire through the Build-ABallet Fund, which has gone on to support 54 productions with over $6 million in contributions. The Merry Widow was the committee’s 12th ballet, and for those of us who have been around long enough to remember opening night, it remains a favourite.

Widow is an endearing classic, with its rapturous score by Franz Lehár and, in the National Ballet’s production, sumptuous Ar t Nouveau sets and costumes

b y t h e l a t e D e s m o n d H e e l e y, evocative of La Belle Époque. We are looking forward to introducing a new generation to the playful and romantic story. And who can resist the Can-Can? T he Volu nte e r C o m mi t te e supports repertoire from a full range of dance styles and techniques.

But the full-length story ballets are among the most enduring works.

We have had the p r ivile ge to sponsor a number of them, some of which remain in the National Ballet’s current repertoire. While our goal is to foster the new, it is always a delight when one of “our” ballets comes back. It makes us so proud that Principal Dancer Xiao Nan Yu has selected The Merry Widow to commemorate her retirement, and will bid farewell to the stage with one of her signature roles, Hanna

Glawari. While celebrating Nan we look forward to seeing new dancers taking on the roles of Hanna and Danilo, Valencienne and Camille.

W h e n th e c u r t a in g o e s u p in June, we will be in the audience to celebrate Nan’s brilliant career, and to take a break from the pressures of the current world, if only for a few hours. Join us as we transport ourselves back to a more glamorous time when true love wins the d a y, a n d we l e ave t h e t h e a t r e humming the composer’s many memorable themes.

The Merry Widow June 19 – 23, 2019 The Merry Widow entered the repertoire through the generosity of The Volunteer Committee, The National Ballet of Canada, joined by the Rotary Club of Toronto.

The Volunteer Committee operates the Ballet Boutique during performances at The Four Seasons Centre on the main level and on Ring 3. Visit the Boutique for a wide selection of National Ballet branded merchandise and ballet-related items. All profits fund new repertoire for The National Ballet of Canada through the Build-A-Ballet Fund.

Guillaume Côté is sponsored through Dancers First

by Emmanuelle Gattuso, C.M. and Allan Slaight, C.M. Xiao Nan Yu and Guillaume Côté in The Merry Widow.

Photo by Cylla von Tiedemann.

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A Tribute to Sandra Faire

By Diana Reitberger, Director of Development It is with de e p s adne s s that T he National Ballet of Ca nada mour ns the pa s sing of Sandra Fa i r e , a c h e r i s h e d f r i e n d a n d trailblazer within our ballet family.

An absolute legend in the ballet a n d g re ate r da n c e c o m mu ni t y in our city and countr y, Sandra demonstrated inspirational vision, passion and determination in all that she did.

Sandra had an incredible impact on the National Ballet both as a volunteer and donor. Joining the Board of Directors in 2004, she quickly distinguished herself in many leadership roles, notably as a founding member of the Soaring Campaign Cabinet and, together with her husband Ivan Fecan, as Co-Chair of the 60th Anniversary Diamond Gala in 2012.

Sandra was a passionate advocate of innovation and she championed the new. In 2012, she created The Producer s’ Circle, a pioneering group of donors who support Karen Kain’s vision for new productions and has raised over $11 million for 20

new collaborations to date. She and Ivan provided landmark s u p p o r t fo r R o m e o a n d J u l i e t

by A l exe i R a t m a n s k y i n 2011, leading to touring opportunities to London, UK, Washington, DC and Los Angeles.

With a keen eye for talent, she wa s a n e a r l y s u p p o r te r of th e D ancer s Fir st programme, and sponsored Principal Dancer Elena Lobsanova when she was still in the Corps de Ballet. Sandra loved the company, and this showed in all that she did to host dancers, orchestra members and donors for many memorable occasions in both her home and abroad.

S a n d r a’s g e n e r o s i t y a n d leadership has sparked a remarkable creative journey for the N a t i o n a l B a l l e t a n d g i ve n o u r ar tists the greatest gif t of all – o p p o r tu n i t y. H e r n a m e i s w r i t large in the history of The National B a ll e t of Ca n a d a a n d s h e w ill forever be an inspiration to us all.

The National Ballet of Canada dedicates Physical Thinking to the memory of cherished leader, philanthropist, volunteer and friend Sandra Faire.

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presents

Physical Thinking June 1 – 8, 2019 Kathryn Hosier. Photos by Karolina Kuras.

Physical Thinking

By Ivan Fecan, Producers’ Circle Member One of the most significant things we can do for The National Ballet of Canada as donors and audience members is to suppor t new productions. The company’s unprecedented growth under Karen Kain is in large part a reflection of her bold programming choices, and in particular her pursuit of exciting new work by Alexei Ratmansk y, Christopher Wheeldon, Crystal Pite, Robert Lepage and John Neumeier, among others. The result of these partnerships – Romeo and Juliet, Alice’s Adventures in Wonderland, E m e r g e n c e, F r a m e b y F r a m e, Anna Karenina – is a progressive, enviable reper toire that has whetted the world’s appetite for The National Ballet of Canada.

The trend continues this spring with “Physical Thinking,” a triple bill showcasing the work of William Forsythe. Devoting an entire programme to a single choreographer is rare, and generally reser ved for towering figures like George Balanchine or Jerome Robbins. With “Physical T hink ing”, Ka re n ha s take n the

le ad in i d e ntif y in g Fo r sy th e a s a chore ographer of distinction, one whose influence has helped to shape the aesthetics of contemporary ballet today. “ Phy s i c a l T h i n k i n g” i n c l u d e s three short ballets – one from the existing reper toire (The Second Detail) and two new acquisitions, The Vertiginous Thrill of Exactitude and Approximate Sonata, featuring a r e v i s e d s c o r e by F o r s y t h e’s long-time collaborator Thom Willems. Athletic, exac ting and w r y l y s e lf- awa re, the s e ba lle t s give a se nse for the range and shape of Forsy the’s oeuvre. The Second Detail, commissioned by the National Ballet in 1991, is an a u d i e n c e f avo u r i te a n d s i t s i n t h e r e p e r to i r e s of m a j o r b a l l e t companies worldwide. “Physical Thinking” gives us the chance to ex p e r i e n c e m o r e of Fo r sy th e’s work, and to see The Second Detail in an entirely new light.

My wi fe, S a n d r a Fa ire, l ove d great dance and wanted to see the National Ballet flourish. She made new productions a priority in both

her volunteer role as the Founding Chair of The Producers’ Circle and in our philanthropy. In partnership with other commit ted donor s, she founded the Producers’ Circle to generate a stable source of funding for new projects like “Physical Thinking,” and to enable Karen to pursue creative par tner ships as they arise. The results have been nothing shor t of amazing. The company is performing some of the best new work on stage today, recruiting top talent, and touring to prestigious dance centres. The new productions are showing the world that the National Ballet is alive with the creative spirit and that Canada itself is a site of innovation, artistry and vision. I’m so proud to be a part of a joint effort among donors to sustain this type of programming for generations to come.

I’m th r ill e d th a t “ Phys i c a l Thinking” is par t of the summer programme and honoured that the performances are being dedicated to Sandra’s memory.

The Second Detail is a gift from The Volunteer Committee, The National Ballet of Canada.

Lead philanthropic support for The Vertiginous Thrill of Exactitude and Approximate Sonata 2016 is generously provided

by Sandra Simpson, an anonymous friend of the National Ballet and The Estate of Douglas Gardner, with additional support from The Producers’ Circle.

The Producers’ Circle: Gail & Mark Appel, John & Claudine Bailey, Inger Bartlett & Marshal Stearns, Gail Drummond & Bob Dorrance, The Thor E. and Nicole Eaton Family Charitable Foundation, Sandra Faire & Ivan Fecan, Kevin & Roger Garland, Ira Gluskin & Maxine Granovsky Gluskin, The William & Nona Heaslip Foundation, Anna McCowan-Johnson & Donald K. Johnson, O.C., Judy Korthals & Peter Irwin, Judith & Robert Lawrie, Mona & Harvey Levenstein, Jerry & Joan Lozinski, The Honourable Margaret Norrie McCain, C.C., Julie Medland, Sandra Pitblado & Jim Pitblado, C.M., Lynda & Jonas Prince, Susan Scace & Arthur Scace, C.M., Q.C., Gerald Sheff & Shanitha Kachan and Noreen Taylor, C.M. & David Staines, C.M., O.Ont. The National Ballet of Canada

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In Celebration of the Corps de Ballet

By Linda O’Leary, Chair, Esprit de Corps

A b a l l e t c o m p a ny i s o n l y a s good as its Corps de Ballet, and unde r Ka re n Kain’s le ade r ship, The National Ballet of Canada now boasts one of the finest in the world. I am so proud to have spearheaded The Esprit de Corps programme to help suppor t this incredibly talented group of dancers.

The Corps de Ballet makes up about half of the company, and include s some of the younge st dancers. These ar tists shoulder high demands: they must lear n the expansive classical and contemporar y reper toires and in addition they may understudy several roles in a single ballet. They are on stage for vir tually eve r y performance, and must strive for individual achievement as well as

synchronisation. In the National Ballet, the Corps dancers are s o t a le nte d that they a re of te n given solo roles on top of their corps work.

In s u p p o r tin g th e C o r p s , th e members of the Esprit programme have had the incredible opportunity to meet these young artists, to see them rehearse in the studio and to get to know them per sonally th ro u g h va r i o u s c u r a te d Es p r i t eve nts. We liste n to dance r s share stories about their hobbies, engagements, weddings and newborn babies! We hear of them overcoming challenges such as injuries, and about their successes, such as dancing exciting solo roles a n d b e i n g g r a n te d p r o m o ti o n s within the company. We have also learned that the Corps dancer s

depend on one another a lot and have developed meaningful f r ie nd s hip s. T hey a re pa r t of a family and the Esprit programme is proud to nurture their community.

Our most recent Esprit event was tied to The Erik Bruhn Prize, held here in Toronto on March 23, 2019.

Young competitors aged 18 to 23 from Royal Danish Ballet, Hamburg Ballet and American Ballet Theatre came to compete with the National Ballet’s representatives, Corps de Ballet members Jeannine Haller and Siphe November. We watched Siphe and Jeannine re hea r sing their contemporar y piece in the studio, followed by a dinner where they talked with past Bruhn winner, First Soloist Hannah Fischer. All t h r e e d a n c e r s we r e a r t i c u l a te, supportive and modest and it was lovely to learn that in preparing for the Bruhn, these young dancers received so much suppor t from the company, including individual coaching from the artistic staff – a rarity for Corps dancers. Days later, Siphe November, with his confidence, finesse, awe-inspiring jumps and exquisite dancing won for b e st male da nc e r! K nowing Siphe as I do made his win all the more exciting to witness, and I feel invested in his future success.

The Esprit de Corps programme invites us to get to know these incredible ar tists, and enhances our experience of watching them perform on stage. Thank you to all our Esprit members for their friendship, passion and continued suppor t for the National Ballet’s exquisite roster of Corps de Ballet dancers.

For information about inspiring the dancers of the Corps de Ballet, please contact Joanna Ivey at 416 345 9686 x347 or jivey@national.ballet.ca Linda O’Leary with Corps de Ballet members. Photo by Christina Gapic.

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The National Ballet of Canada

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Corps Q&A: Jeannine Haller

By Linda O’Leary Born: Saskatoon, Saskatchewan Trained: Canada’s National Ballet School Joined: 2015 Corps de Ballet since: 2016

As the Chair of Esprit de Corps, I’ve had the opportunity to get to know you as a person and as a dancer.

C o u l d yo u s h a r e w h a t yo u ’ ve told me about your background, and when you joined the Corps de Ballet?

I grew up in Vancouver, where I trained at a small school. When I was 15, I auditioned for Canada’s National Ballet School and joined for Grades 11 and 12. I did a year of the postsecondary programme during which I auditioned for the company, and was lucky enough to start my apprentice c ontrac t e a r ly, pe r for ming T h e Sleeping Beauty with the company at the end of the season. My year in the RBC Apprentice Programme was a great introduction to company life with lots of performances in YOU dance and company shows, and I joined the Corps de Ballet the following year, in 2016.

I understand that the Corps de Ballet is like a family at The National Ballet of Canada. Can you elaborate on that?

The whole company can feel like a family at times but especially the Corps de Ballet because we do so much of our work together. Rehearsing and performing with the same small group of people creates a very special bond. We all care about each other and cheer each other on.

You recently competed for The Erik Bruhn Prize, per forming both a classical pas de deux and

a contemporar y piece. How did the individual coaching help you prepare and mature as an artist?

I was so excited and honoured to be competing for the prize and have the chance to work closely with Karen Kain and Christopher Stowell, who coached us. We performed an excerpt from La Sylphide for our classical pas de deux, and Karen was incredible in helping me to discover the character of the Sylph. At the Corps de Ballet level we don’t often have multiple hours each day one on one with our coaches so it was a wonderful experience to have.

I learned a lot and felt very prepared by the time we got to the competition.

I also really enjoyed working with my colleague Siphe November, as he is an exceptional dancer and a very kind and supportive person, and it was inspiring to be in the studio with him.

was the creative process?

C re atin g a n ew wo r k i s ve r y different from just learning an existing one so the process to prepare the contemporary piece was slightly longer than for the classical. This gave us time to experiment and explore as Alysa crafted the final version of the piece.

Alysa Pires created a new piece, The Other Side, for you and Siphe to perform at the competition. How

Thanks, Jeannine. We look forward to seeing you onstage and watching your career blossom!

What are you looking forward to in the June season?

I am most looking for ward to “Physical Thinking”, the William Forsythe programme, which includes three shor t ballets: Approximate Sonata, The Second Detail and The Vertiginous Thrill of Exactitude.

For sy the is such an innovative choreographer and the programme is a lot of fun with challenging dancing, Working on it will be very rewarding.

Jeannine Haller. Photo by Karolina Kuras.

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Turnout: Forging New Connections

By Simon Beck My relationship with The National Ballet of Canada has deepened s i g n i f i c a n t l y a f te r b e c o m i n g a Turnout donor and a member of the Cabinet. Since joining Turnout, I’ve come to have a fuller experience of the ballet: I’ve made new connections, learned more about the ar t form and found a way to leverage my professional skill set to support the arts in Canada.

I didn’t “discover” ballet until quite late in life. I didn’t grow up going to the ballet; it wasn’t until my second year of university, when I li ve d a r o u n d th e c o r n e r f r o m the Royal Opera House in Covent Garden, that I was first exposed to ballet. It was the sheer beauty of G i s e l l e that m e s m e r ize d m e and capture d my hear t. It was that sense of awe (which comes so rarely in life) that has led me to continue supporting the arts.

Since moving back to Toronto

a few year s ago, I have used Turnout to make new connections with a community that shares an appreciation for ballet. Turnout events have enabled me to build n ew f r i e n d s h i p s , w h i c h m e a n s I always meet someone I know at the ballet!

These events and friendships have deepened my understanding of the art form. The opportunity to attend a rehearsal of Christopher W he e ldon’s A l ic e’s Ad ve ntu r e s in Wonderland was an incredible learning experience, and took me behind the scenes to see how a production all comes together.

Finally, being a part of the Turnout Cabinet has given me the chance to employ my professional skill set as a strategy consultant to support the National Ballet. We regularly meet to ideate and develop innovative and dynamic ways to bring more yo u n g C a n a d i a n s i n to c o n t a c t

with ballet. This has included new ways to segment the market, better understand customer journeys and think about fresh new looks for the Turnout brand.

As I look forward, I am excited to continue to deepen my connection with The National Ballet of Canada and the ar t itself. I hope to work with the National Ballet to continue to find concrete ways to be more inclusive and diverse, reflecting the changing face of our country and including Canadians from all s o c i o - e c o n o m i c b a c kg r o u n d s .

Fur thermore, as Canada faces a future of work that will wrestle with automation and an increasing premium on creativity, I am excited to envision the leadership role that th e N a ti o n a l B a ll e t c a n p l ay in cultivating the creativity that will be desperately needed.

Join the National Ballet’s young professionals’ programme: national.ballet.ca/turnout

Turnout members. Photo by Lynn Middleton.

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The National Ballet of Canada

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The International Competition for The Erik Bruhn Prize Congratulations to Corps de Ballet member Siphesihle November of The National Ballet of Canada and Catherine Hurlin of American Ballet Theatre, winners of The International Competition for The Erik Bruhn Prize.

Kristian Lever from The Hamburg Ballet received the Choreographic Prize for his specially commissioned work, An intimate distance. The competition,

held on March 23, 2019, featured dancers and choreographers from American Ballet Theatre, Hamburg Ballet, Royal Danish Ballet and The National Ballet of Canada.

Mr. November danced with Corps de Ballet member Jeannine Haller in a pas de deux from Act II of La Sylphide for the classical section and The Other Side, a new work by Alysa Pires,

for the contemporary section.

The National Ballet extends deep gratitude to John and Claudine Bailey for their continued support of the Competition. Their sustained and passionate commitment is integral to this event which showcases and develops young dancers.

Siphesihle and Jeannine will reprise the pas de deux from La Sylphide as part of the MAD HOT BALLET: Desert Dream gala performance on June 12. The programme will also include:

A New Work by Robert Binet Performed by Xiao Nan Yu, Hannah Fischer, Skylar Campbell and Spencer Hack Tchaikovsky Pas de Deux Performed by Heather Ogden and Harrison James Being and Nothingness Excerpt Performed by Greta Hodgkinson and Ben Rudisin

Siphesihle November, Claudine Bailey, John Bailey, Jeannine Haller, Karen Kain and Alysa Pires. Siphesihle November and Jeannine Haller in La Sylphide. Photos by Karolina Kuras and Tk. The National Ballet of Canada

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The Merry Widow Act III Pas de Deux Performed by Xiao Nan Yu and Guillaume CĂ´tĂŠ Siphesihle November is sponsored through Dancers First by Jerry & Joan Lozinski.

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MAD HOT BALLET: Desert Dream

By Rana Florida and Rochelle de Goias, 2019 Gala Co-Chairs Human expression has fostered joy, community and understanding in societies across time and place, helping individuals to connect in meaningful ways. Arts and culture tap into this universal drive toward ex p re s s io n a n d e n r i c h ou r live s immeasurably, whether by promoting a sense of wellbeing, sharing ideas, cultivating beauty or prompting selfreflection and imagination. Our cities and communities would be sterile without the arts and the creativity and emotion they impar t. We feel that dance is an important part of a r ts a nd culture a nd a powe r ful form of human expression, one that enhance s our qualit y of life and contributes to our individual and social growth.

We first became involved with The National Ballet of Canada because it is one of the world’s premier ballet companies, recognized for its artistry and diverse repertoire.

As donors, volunteers and patrons, we hope to get the next generation excited about ballet and the accomplished body of work we have at this company. We get so much joy from giving back to the National Ballet that we want to open the experience to others and spark their enthusiasm for great dance.

This is why we are so honoured to ser ve as Co - Chair s of this ye a r’s M A D H OT BA LLE T ga la , the company’s largest fundraising event of the year. Our theme, Desert

D r e a m, w i l l b r i n g b a l l e t l ove r s together to dine in the warm glow of the sultan’s tent surrounded by rich, luxurious colours and textures.

Moroccan and Berber rugs, silky drapes, plush poufs, pillows, lanterns and palms will whisk you away and lend atmosphere to the night’s special performance. The desert fantasy will continue after the per formance, when patrons will enjoy yet more entertainment with expressive belly dancers and bongo beats.

We hope you will join us for this wonderful event in support of The National Ballet of Canada and the c a p t i va t i n g p e r f o r m a n c e s t h a t inspire us all.

MAD HOT BALLET: DISCO. Photo by Ernesto Di Stefano.

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The National Ballet of Canada

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June 12, 2019 Presenting Sponsor

An unforgettable night of dance, music, fashion and food to raise over $1 million in support of the National Ballet artists, performances and community programmes. Join us at MAD HOT BALLET and immerse yourself in the Desert Dream, where culture and ballet collide for a transcendent dance experience.

MAD HOT LOTTERY Win One of Four Spectacular Prizes Royal de Versailles Jewellery Hermitage Bay and Air Canada Holiday Cabine Shopping Spree Jays Care Foundation Baseball Experience

Lottery Tickets are $50 each or 3 for $100 The National Ballet of Canada Lottery Licence number: 10649.

For rules and regulations, visit madhotballet.ca Xiao Nan Yu. Elena Lobsanova. Photos by Karolina Kuras.

madhotballet.ca 416 345 1944 The National Ballet of Canada

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An International Audience for The National Ballet of Canada American Friends of

,

By Gerry Frauwirth, President, American Friends of The National Ballet of Canada S i n c e t h e 19 9 0 s I ’ v e b e e n travelling from my home in Connecticut to Toronto to attend per formances of The National Ballet of Canada. The John Cranko

ballets – Onegin, The Taming of the Shrew, Romeo and Juliet – were what prompted my interest. But over the years, I have also found that Toronto is a great place to s p e n d a we e ke n d , a n d I o f te n at tend both opera and ballet productions. I like to see two or three per formances of the same ballet in order to get a good sense of the production itself and to see different dancers in the roles. Right now, I feel the National Ballet is at its peak – there is new richness and depth to the programming, the per formances are extraordinar y, and the dancer s are ar tistically

excellent and versatile.

My first love was opera. I didn’t know anything about ballet when I began attending performances in New York in the late 1960s – The Royal Ballet, Stuttgart Ballet, New York City Ballet, American Ballet T h e atre a n d oth e r s. G r a du a ll y, though, I have come to know what I appreciate: superb technique, the chemistr y and enthusiasm of the da nc e r s, we ll- re he a r se d productions and interesting choreography. The National Ballet of Ca n a d a h a s th e s e e l e m e n t s i n a b u n d a n c e . W h e n I e n j oy a per formance, I like to show my a pp re ciation fully awa re of the costs and work required to put a ballet on stage.

I like to suppor t the National Ballet as a donor because it gives me an enriched experience of the c o m p a n y, b o t h d u r i n g t h e p e r fo r m a n c e s a n d b e hin d -th e scenes. I became more engaged after being invited to a backstage tour and meeting Diana Reitberger, Director of Development. I admire the way that the National Ballet shows its appreciation for donors and I commend the calibre of staff in the Development Depar tment.

My experience with the National Ballet has been so positive that I now volunteer my services to the American Friends of The National B a l l e t of C a n a d a to h e l p r a i s e awareness of this giving opportunity for U.S. citizens.

Jillian Vanstone is sponsored through Dancers First by George & Kathy Dembroski.

American Friends of The National Ballet of Canada, Inc. is recognized by IRS as a Section 501(c)(3) Charitable organization.

Jillian Vanstone at the Guggenheim Museum in New York City. Photo by Aleksandar Antonijevic.

national.ballet.ca/americanfriends

The National Ballet of Canada

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UK Friends of

By Nancy Miller, Chair, UK Friends of The National Ballet of Canada I n 2 013 , T h e N a t i o n a l B a l l e t o f C a n a d a r e t u r n e d to t h e U K with per formances of A lexei Ratmansky’s Romeo and Juliet at Sadler’s Wells. Afterwards, Karen Kain gave a passionate and personal speech outlining her vision for the company to tour again overseas after a 25+ year absence from the international stage. She explained that a n ex pa nde d inte r nationa l The National Ballet of Canada

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presence will enrich our dancers’ careers and expose new audiences to the expertise, professionalism and broad repertoire of the National B a l l e t . To u r i n g i n t e r n a t i o n a l l y also helps the National Ballet to a t t r a c t t h e b e s t a n d b r i g h te s t from the dance world, including choreographers, dancers, costume and set designers, and musicians.

That evening, as Karen spoke, my husband and I decided we wanted to help this world-class company realize its aspirations in the UK. I was asked to become Chair of the UK Friends of The National Ballet of Canada, and I have been honored to help Karen achieve her vision for the National Ballet. The aim of our charity is to promote the art of ballet by bringing the unique

artistry of the National Ballet to the UK. Our members help to support the c ompa ny whe n it tour s the UK (and other European cities) or develops co-productions with UK dance companies.

In October 2017, the National Ba llet retur ne d to London with the immersive dance experience The Dreamers Ever Leave You by Canadian choreographer Rober t B i n e t , w h i c h i nvo l ve d d a n c e r s from both the National Ballet and the Royal Ballet. Our guests, particularly the younger ones, not only found the ballet to be unique and beautiful, but were also amazed to see such wonder ful principal dancers from two top-rated dance companies up close.

M e m b e r s o f t h e U K Fr i e n d s were delighted when the National Ballet returned to London in A pril 2019 a s pa r t of the Royal B a l l e t ’s I n te r n a t i o n a l D r a f t Works suppor ting emerging choreographic talent. The National Ballet presented Grey Verses by S e c o n d S o l o i s t B r e n d a n S aye, featuring four ama zing dancer s from the company who shone on the international stage.

As the National Ballet goes from strength to strength, touring not only to London but also to Paris, Hamburg, Moscow and St. Petersburg, membership in the UK Friends is growing, particularly now that exciting plans are in place to r e tu r n to th e U K ove r th e n ex t several years. I’m thrilled that we are building a vibrant and passionate audience for The National Ballet of Canada in the UK, and I look forward to sharing in the company’s achievements in the seasons to come.

Jenna Savella is sponsored through Dancers First by Elvio & Marlene DelZotto.

Jenna Savella in London, England.

Photo by Karolina Kuras.

Registered charity in England and Wales (1170186)

national.ballet.ca/ukfriends 17

Creeds Supports The National Ballet of Canada

By Beverly Creed, Director, Creeds Dry Cleaning When I first moved to Toronto from Hamilton, I began to take an interest in ballet. Reading articles about Karen Kain and Frank Augustyn piqued my interest even more, so my husband and I bought tickets to a per formance by The National Ballet of Canada. From there we purchased a subscription s e r i e s a n d t h e r e s t i s h i s to r y.

The National Ballet has been an important part of my life ever since.

As I became more involved with the company, I was invited to provide a d di ti o n a l s u p p o r t a s a d o n o r.

I chose to give back to the ballet community by offering dry cleaning from our family business, Creeds.

T h a t wa s a lm o s t thi r t y ye a r s ago! Eve r y se a son, our Cre e ds service picks up a rack of costumes once a we ek and drops of f the p r e v i o u s w e e k ’s r a c k . A r a c k can fit anywhere from six to fifty costumes, depending on their size.

For example, the rack will only hold six or eight of the elaborate waltz dresses from Act I of The Merr y

Artists of the Ballet in The Merry Widow.

Photo by Nancy Paiva.

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Widow. We’ll clean whatever the ballet sends, whether that be men’s tunics, coloured tutus or heavily d e c o r a te d b o d i c e s – a ny t h i n g that is tailore d, detaile d, finely constructed or simply too large to be laundered. We also specialize in cleaning specific fabrics and trims. If the Wardrobe Department is concerned with how something will wash or clean, or if any beading will melt, they’ll send a swatch or sample in advance and we’ll test it first.

We know how impor tant these delicate and exquisite costumes are to the National Ballet, and how much effort goes into building and maintaining them. We take care of the costumes because we know how much they mean to people and we respect the level of detail invested in each one. Our customers trust us with their favourite and treasured items, the garments that express their personalities and identities.

We honour that by caring for them i n e q u a l m e a s u r e . We e x t e n d

the same treatment to the National Ballet.

The National Ballet has made us feel involved and appreciated a s a c o r p o r a te p a r t n e r a n d a s individuals who love the ballet.

We have been invited behind-thescenes to see the productions up close and to meet with the artists.

In the early years we were thrilled to be introduced to Rudolf Nureyev and Erik Bruhn, and I witnessed the creation of James Kudelka’s The Contr act in 20 02, including the recording of the score. Watching the Orchestra rehearse has taught me so much about music, and I have enjoyed getting to know the team that manages the wardrobe and costume design. Being a donor has added a real richness to my life.

At Creeds we are happy to continue to show our support for The National Ballet of Canada as donors and friends, and we feel for tunate to still be involved in a meaningful way.

A Legacy of Giving

By Patricia Campbell, Celia Franca Society Member My story with ballet began when I was a little girl who loved being in a pink tutu performing pirouettes for my parents. As a teen I became a serious and determined dance student, until sadly I realized I did not meet the physical requirements for a career in ballet. But I have never lost my love for the art form and I am a longtime supporter of The National Ballet of Canada.

T hi s c o m p a ny h a s b e e n p a r t of my life for over 50 years. As a young mother, I took my daughter to her first Nutcracker at Toronto’s O’Keefe Centre in 1968. She has loved ballet ever since. She still remembers the lacy princess dress that she wore and the preperformance experience of lunch and a ballet talk with the dancers: Nadia Potts, Mary Jago, Veronica Te n n a n t , V a n e s s a H a r w o o d , H a z a ro s S u r m e ja n a n d Je re my Blanton.

The 1970s were an exciting time for the company. A young Karen Kain leaped onto the stage with the wings of a swan and, soon after, into the role of Princess Aurora alongside Rudolf Nureyev. At the same time, the company was developing a strong community of donors, patrons and volunteers, some of whom established The Women’s Committee, a precursor to The Volunteer Committee, which still exists today. I joined the Junior Women’s Committee in 1970 and b e c a m e P r e s i d e n t i n 1975 . I n a d d i t i o n to a c q u i r i n g va l u a b l e leadership skills, my involvement began a level of intimacy with the National Ballet that proved hugely rewarding, and I made wonderful

friends I am still close to today.

As volunteers, we were i n ex p e r i e n c e d , b u t m o t i va te d .

We raised funds annually with a Ballet Dinner and Dance called the “Ballet Ball,” and we were pioneers in taking ballet programmes into schools, first with just photographs and slide projectors, and later with costumes and props. Eventually we arranged Ballet Spectrum, which included the dancers themselves.

Ours was an early version of the YOU dance programme currently operating under Karen Kain.

I n 2012, I l e a r n e d a b o u t T h e C e l i a Fr a n c a S o c i e t y, a d o n o r programme for individuals who have arranged a gift in their estate plans to provide for the company’s future excellence. In appreciation for a gift in my will, I am invited to watch class, rehearsals and attend financial planning seminars.

I also e njoy the fr ie ndship of fellow ballet lovers and have the satisfaction of knowing that I am helping to preser ve a world-class company for future generations, including my grandchildren. My daughter and I are regular subscribers and donors, and now my granddaughter has joined us, recently accompanying me to a dress rehearsal of Alice’s Adventures in Wonderland. Ballet has become a bond that brings us closer together, and for that I am very thankful.

I can’t wait until nex t season, when after 50 incredible years with the company, Karen Kain will amaze us yet again, with her own version of Swan Lake. What a journey it has been!

For more information about joining the Celia Franca Society, please contact Richard Lefebvre, Senior Manager, Special Gifts at 416 345 9686 x324 or rlefebvre@national.ballet.ca Top: Celia Franca. Bottom: Patricia Campbell, age 7.

The National Ballet of Canada

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Connecting With You: Our Community in Action

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The National Ballet of Canada

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Chelsy Meiss is sponsored through Dancers First by Diana St. B. Weatherall. Christopher Gerty is sponsored through Dancers First by Ms. Nancy Viner & Dr. Raymond Stein. Calley Skalnik is sponsored through Dancers First by an anonymous donor.

Top row: Christopher Stowell, Associate Artistic Director, and Michele Symons, Chair, Sans Limites. Music Director and Principal Conductor David Briskin and Cornell Wright, Chair, Board of Directors. Second Soloist Christopher Gerty with Nancy Viner and Raymond Stein, Dancers First Sponsors. Sydney Davloor and Rags Davloor.

Middle row: RBC Apprentices Tene Ward and Thomas Leprohon. Patrons’ Council members Andrea Burridge and Jordan Applebaum with Second Soloist Joe Chapman. Nancy Holland, Chair, Ballet Club Relevé and RBC Apprentice Nico Janssen.

John Weatherall with First Soloist Chelsy Meiss.

Bottom row: Corps de Ballet member Selene Guerrero-Trujillo with Eric Tripp and Maria Smith, Esprit de Corps members.

Corps de Ballet member Calley Skalnik with Nancy Logan and William Logan, Patrons’ Council members.

Photos by Alana de Haan, Christina Gapic, Karolina Kuras, Lynn Middleton and Bruce Zinger.

The National Ballet of Canada

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In Brief: Company Highlights

International Draft Works, London, U.K. National Ballet First Soloist Brendan Saye presented Grey Verses as part of International Draft Works at the Linbury Theatre, Royal Opera House on April 11 – 12, 2019. The annual programme features dances by emerging choreographers from the world’s leading dance companies on stage together. The 2019 edition also featured works by Royal Ballet, Birmingham Royal Ballet, Dutch National Ballet, Hamburg Ballet, Northern Ballet, Norwegian National Ballet and the Royal Ballet of Flanders. The cast for Grey Verses included Principal Dancers Naoya Ebe and Elena Lobsanova, First Soloist Chelsy Meiss and Second Soloist Donald Thom.

The Encore! Dance Hall of Fame Karen Kain was inducted into the Encore!

D a n c e H a l l o f Fa m e a t D a n c e C o l l e c t i o n Danse’s special celebration on Sunday, March 24, 2019, along with cherished donors Sandra Faire and Ivan Fecan, and dance luminaries Patricia Beatty, David Earle, Peter Randazzo, Françoise Sullivan, Louise Lecavalier, Chief Kenneth Har ris and Elde r Margaret Har ris, Lois Brown, Leonard Gibson, Menaka Thakkar, Chief Red Crow, Gail Grant, Amy Sternberg and Michael Crabb. The Encore! Dance Hall of Fame celebrates the rich legacies of Canada’s dance artists, patrons and trailblazers.

Naoya Ebe is sponsored through Dancers First by Gretchen Ross.

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

Jeff Morris, Barry Hughson, Naoya Ebe, Chelsy Meiss, Brendan Saye, Elena Lobsanova, Donald Thom and Kevin O’Hare, Artistic Director of The Royal Ballet.

Photo by Gabriel Fain. Veronica Tennant, Frank Augustyn and Karen Kain. Photo by Arthur Mola Photography.

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The National Ballet of Canada

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Upcoming Events Turnout Strategic Planning Workshop Wednesday, May 22, 2019, 7:00 pm The Walter Carsen Centre

Esprit de Corps Working Rehearsal Tuesday, May 28, 2019, 5:30 pm The Walter Carsen Centre

Patrons’ Council Ballet Dinner: Physical Thinking Wednesday, June 5, 2019, 5:00 pm

Turnout Friday Night Theatre Experience Friday, June 7, 2019, 7:30 pm Four Seasons Centre

Dress Rehearsal: The Merry Widow Sunday, June 16, 2019, 2:00 pm Four Seasons Centre

Class on Stage Saturday, June 8, 2019 10:30 – 11:45 am Watch the dancers of The National Ballet of Canada take Class on Stage at the Four Seasons Centre for the Performing Arts. Company class is a daily ritual for all dancers. The 75 minute class warms up the body and prepares the dancer physically and mentally for rehearsal and performance.

The exercises in company class are the building blocks of classical ballet choreography. Class on Stage will be led by Rex Harrington and narrated by Christopher Stowell. Tickets are $10 for adults and $5 for children, available online at national.ballet.ca or by calling 416 (1 866) 345 9595 or the Patrons’ Council Hotline.

Patrons’ Council Season Closing Party Sunday, June 16, 2019, 6:30 pm Casa Loma

Friends’ Corps Backstage Tour: The Merry Widow Saturday, June 22, 2019, 10:00 am Four Seasons 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 or patrons@national.ballet.ca or turnout@national.ballet.ca

Artists of the Ballet in Company Class on Stage.

Guillaume Côté at Class on Stage.

The Orchestra in the pit. Photos by Karolina Kuras Photo

by Karolina Kuras. and Bruce Zinger.

The National Ballet of Canada

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Your Gift Will Be Matched!

Donate before June 30 to join the transformational Soaring Campaign and double your impact.

The participation of every member of our community of support is key to realizing the Soaring Campaign’s goal to create a strong foundation for the National Ballet to thrive now and well into the future.

national.ballet.ca/soaring 416 (1 866) 345 9595 soaring@national.ballet.ca Brendan Saye is sponsored through Dancers First

by Robin Vaile Robinson.

Brendan Saye. Photo by Karolina Kuras.

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

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