Preview |Fall 2018 - Issue 45

Preview A publication for our donors / Issue No. 45 Fall 2018

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Soaring

The Campaign for The National Ballet of Canada

A Time Unlike Any Other The National Ballet of Canada has been at the cultural heart of our country for over 65 years, bringing the power of dance to generations of audiences. Today, the company is achieving new heights of artistry and global prestige under the inspired leadership of Artistic Director Karen Kain, and now ranks among the world’s elite ballet companies. This is a crucial moment for the National Ballet, as we work to harness the momentum of the past several years of growth to sustain a culture of excellence today and into the future.

S o a r i n g: T h e C a m p a i g n f o r T h e National Ballet of Canada is the backbone of our efforts. With a goal of $100 million, Soaring is one of the most significant cultural campaigns in Canadian history, and is already helping to expand our repertoire, secure creative partnerships, better engage the community, and nurture talented dancers and choreographers.

When our Soaring Campaign concludes on June 30, 2019, donors will have laid the foundation for a vibrant, ar tistically visionar y National Ballet that will engage more audiences than ever before.

With $94 million in funds raised, we are now asking you to join us in the final mile of the campaign as we realize the promise of the National Ballet at home and on the world stage. To those who have already given to Soaring, thank you.

We are so proud to share the magnificent results of your generosity this season and beyond, with dance that engages and moves us, and strikes a chord with our common humanity.

David Macdonald Chair, Soaring Campaign

Soaring Campaign Cabinet Sandra & Jim Pitblado Honourary Co-Chairs David Macdonald Campaign Chair Gail Appel Judi Conacher The Honourable Nicole Eaton, Senator Sandra Faire Krista Kerr Geneviève McKillop Julie Medland Gretchen Ross Michele Symons Cornell C.V. Wright

David Macdonald. Photo by Sian Richards.

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The Power of Dance To d ay T h e N a ti o n a l B a ll e t of Canada is home to some of the most talented and versatile dancers in the world, with an artistic sensibility that balances creative risk-taking with technical excellence and the gold standard in production.

Under the Artistic Directorship of K a r e n K a i n, we h ave a ve r y special opportunity to establish a powerful legacy for The National Ballet of Canada. By investing in excellence today, while building a strong endowment for tomorrow, the National Ballet can continue to enrich Canadian culture and shape the hearts and minds of young people for generations.

The National Ballet of Canada

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Contents 2 3 4 8 14 16 18 22 26 30

Message from David Macdonald Message from Karen Kain The Soaring Campaign Artistic Excellence New Productions Anna Karenina Touring Endowment Community Engagement Message from Diana Reitberger

“Now, more than ever, dance has the power to bring cohesion to our fragmented world, to remind us of what we value and to embody the spirit of our best human potential.

Soaring: The Campaign for The National Ballet of Canada is about building on an extraordinary heritage to bring the depth and breadth of this art form to future generations and – increasingly – to showcase Canadian excellence and values on the world stage.”

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 Art & Design: Carmen Wagner

Artistic Director Karen Kain

Karen Kain. Photo by Karolina Kuras.

The National Ballet of Canada

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Cover: Heather Ogden.

Photo by Aleksandar Antonijevic.

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Soaring: The Campaign for The National Ballet of Canada To support Karen Kain’s vision, the Soaring Campaign Cabinet set an ambitious goal of raising $100 million

by June 30, 2019. The largest campaign in the company’s histor y, Soaring fuels transformational growth through investment in core artistic resources, and by building creative and financial capacity to ensure success now and into the future.

Campaign Goals •

To inspire and delight audiences with world-class dancers and productions

•

To position the National Ballet at the top echelon of ballet companies in the world

•

To build a strong artistic and financial foundation to drive creative growth for generations to come

Karen Kain’s Artistic Strategy Under Karen Kain’s leadership, The National Ballet of Canada is experiencing a “virtuous circle” of growth, as the company continues to strengthen its international standing, build audiences, attract talent, generate new opportunities for creative collaboration and engage broad-based communities across Canada. With the support of the Soaring Campaign to date, this strategy has ushered in a new era of excellence and influence.

Karen Kain. Photo by Karolina Kuras.

Opposite: Jim and Sandra Pitblado.

Photo by Gary Beechey.

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“The National Ballet of Canada is at a pivotal moment. The degree to which we seize it and use it to propel us to new heights on the international stage will define our future as a company.�

Sandra & Jim Pitblado Honourary Co-Chairs, Soaring Campaign

Touring Opportunities

Talented Dancers

Showcase our talent on the world stage through prestigious touring opportunities

Attract, develop and retain the most talented dancers in the world

Audience & Community Engagement Sharing our passion and joy for dance with our local, national and international communities

Unique Repertoire Build unique repertoire with lasting appeal

The National Ballet of Canada

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World Renowned Choreographers Become the firstchoice destination for choreographers

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Principal Dancer Harrison James on Artistic Excellence To m e a d a n c e r w h o e m b o d i e s artistic excellence is about more than what one sees only onstage. There are many contributing factor s to a dancer’s artistry. Technical prowess, physical form and the ability to move an audience are all very apparent when it comes to artistic excellence in ballet but my greatest admiration for the dancers and choreographers of today comes from watching and working with them in the studio. Intelligence, an open mind, a strong work ethic and great communication skills are integral to the creative process, and ultimately a finished product wor thy of being defined as artistically excellent. Artistic excellence is not easy to achieve but in my experience the people who embody these traits are excellent artists long before they get onstage.

I knew very early after joining The National Ballet of Canada that it would be a great place for me to grow ar tistically. We have a reper toire of works by many of the most prominent c ho re o g r a p he r s in the wo r l d. T he company has enormously talented dancers from whom I draw inspiration daily. We also have an invaluable health and wellness team responsible for keeping our bodies functional in this highly demanding, athletic profession.

Our ar tistic staf f of fer a wealth of knowledge and passion. Plus we have beautiful facilities to rehearse in and we perform in a stunning theatre to boot. In the pursuit of artistic excellence, the National Ballet has created a great environment that nur tures and e n c o u r a g e s th e a r ti s t s w i th i n th e company to pursue the same.

Harrison James is sponsored through Dancers First by Lucy White.

Harrison James. Photo by Karolina Kuras.

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The National Ballet of Canada

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Sarah McEvoy & Cornell Wright on Artistic Excellence Both of us love the breathtaking b e a u t y, a r t i s t r y, m u s i c , e n e r g y, adventure and precision of ballet. The athleticism of the dancers is incredible, matched by their powerful ability to express deep and compelling emotion.

As we’ve become more involved as subscribers, donors and volunteers, our appreciation continues to grow.

We a r e c o n ti n u a ll y d r aw n i n by the passion and commitment of the dancers, and find it thrilling to see the m in dif fe re nt produc tions and different roles. We feel we get to know them better with each per formance and become more invested in their journeys. For example, it is always exc i tin g to s e e a C o r p s d e B a ll e t member in a principal role for the first time. We applaud The National Ballet of Canada for identifying potential, taking risks and giving young dancers from all backgrounds opportunities to shine.

One of the many strengths of the company is this ability to nurture the artistic growth of the dancers. To help the dancers achieve excellence and to reach their full potential, the company creates an environment that supports their physical and mental well-being, values each member and welcomes individuality. The cohesion and loyalty of the dancers inspires a community of s u p p o r t th a t i s wa r m, f r i e n dl y, enthusiastic and engaging.

We are proud to suppor t creating opportunities for dancers and helping their progress. It is extremely rewarding to see a dancer’s career blossom and to feel that we can be a par t of the advancement of the art form.

Sarah McEvoy & Cornell Wright

Meghan Pugh is sponsored through Dancers First by Cornell Wright & Sarah McEvoy.

Sarah McEvoy and Cornell Wright. Photo by Karolina Kuras.

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Artistic Excellence

Artistic Excellence The ability to attract and re t a i n t h e b e s t t a l e n t i s t h e key to success at any b a l l e t c o m p a n y.

To exist at the forefront of ballet internationally, The National Ballet of Canada requires dancers of exceptional technique and artistic range who will uphold the company’s reputation for excellence. Soaring supports the work of attracting, nurturing and retaining high calibre artists by giving them optimal artistic and professional opportunities. These include an engaging repertoire, touring opportunities, competitive compensation, a comprehensive wellness programme and an environment conducive to mentorship, camaraderie and continuity.

Access to the richness of live music is crucial for the musicality of the dancers and attracting creative partners who want to collaborate on new scores. The National Ballet of Canada Orchestra is the only dedicated ballet orchestra in Canada, with 62 musicians playing from a diverse library of 221 scores. Soaring supports the National Ballet’s commitment to live music with resources for the entire music programme, including the Orchestra, rehearsal pianists, guest conductors and artists, a music library and the development of original scores commissioned for new productions.

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Artistic Excellence

Artistic Goals To a t t r a c t , n u r t u re a n d re t a i n t h e most talented artists.

Through gifts to the Soaring Campaign, donors have empowered The National Ballet of Canada to: •

Nurture and promote talent from within all ranks of the company.

•

Attract leading international dancers to the company, such as Principal Dancers Svetlana Lunkina, Evan McKie and Jurgita Dronina.

•

Create the role of Associate Artistic Director

•

Invest in the RBC Apprentice Programme to deepen our roster of young talent.

•

Establish the Health and Wellness Programme for injury prevention, treatment and rehabilitation to ensure dancers perform at their peak abilities.

•

Preserve the rich tradition of live music for rehearsals and performances with a full orchestra of 62 musicians.

•

Commission new music scores for four new full-length ballets.

Svetlana Lunkina is sponsored through Dancers First by Anna McCowan-Johnson & Donald K. Johnson, O.C. Svetlana Lunkina. Photo by Karolina Kuras.

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Music Director and Principal Conductor David Briskin I believe in the power of live music.

In our 21st century digital world where music is instantly accessible through a series of strokes and swipes on a phone or tablet, the experience of a live analog per formance – not recorded, amplified, enhanced or engineered – may seem old-fashioned and outdated. I would suggest, however, that these experiences, increasingly rare as they may be, are more vital than ever in keeping us connected with our “humanness,” with the natural world, and with each other.

When a musician draws a bow made of wood and horsehair across a string, blows air into a carved piece of wood or brass tubing, or strikes a drum made from animal skin, he or she is producing sound from instruments that were crafted out of natural materials. The musician

moulds and shapes these sounds into the pitches and rhy thm that make up the building blocks of music. These sounds travel and resonate – without amplification – through the auditorium of the Four Seasons Centre.

In per formance, the individual musicians of The National Ballet of Canada Orchestra come together bringing not only years of practice and dedication to their collective music-making, but their own life experiences as well. They share their talent, their artistry and indeed a par t of themselve s with each other, and with you, the listener, t h r o u g h t h e m e d i u m o f m u s i c.

They play. We hear, and then we listen, and suddenly from nowhere, feelings arise and our imaginations awaken. We connect what we hear to what we see and we respond.

Without a screen, headphones or

an app.

Philosopher Ma xine Greene says that if our day-to-day lives may be represented by a sheet of paper filled with words, sentences and paragraphs, the act of experiencing and engaging with a work of ar t takes place in the margins. She cautions not to let the wo rds c omplete ly ove r t ake the page.

During a performance, when you next hear a string choir reaching for the heavens, the bittersweet tone of a clarinet tinged with sadness, a melody that lifts your spirit or the s we e p o f a p h r a s e t h a t i s t h e passionate thrill of new love, think for a moment of the musicians who create these sounds. The individuals – playing in the margins – who touch your heart through the power of live music.

David Briskin. Photo by Karolina Kuras.

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The National Ballet of Canada

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Charles and Anne Morison We have been “small p� patrons of The National Ballet of Canada fo r m o s t of o u r l i ve s , w i t h o u r i nvo l ve m e n t g r ow i n g n a t u r a l l y over time. Twelve year s ago we joined the Patrons’ Council and for the last two seasons we have been enthusiastic members of the Music Circle.

We believe that live music reverberates differently to r e c o r d e d m u s i c, a n d p r ov i d e s a level of warmth, depth and emotional power that cannot be substituted. Disclaimer: We are rabid fans of The National Ballet of Canada Orchestra! Watching the collaboration between dancers and musicians take shape in the moment of performance is inspiring a n d i nve s t s o u r ex p e r i e n c e o f b a l l e t w i t h a s e n s e o f e n e r g y, f re s hne s s a nd excite me nt. O ur talented Orchestra and Principal C o n d u c t o r, D a v i d B r i s k i n , a r e not mere accompanists, but full-fledged partners in the artistic venture.

We feel compelled to be donors, to do our part to nurture an art form that brings us so much joy. Some of our happiest times have been at the ballet! We are so proud of The National Ballet of Canada and their Orchestra, and we are committed to their success and wellbeing. We hope that anyone who enjoys the arts, as we do, will help to support our artistic community and ensure that it thrives.

Charles and Anne Morison

Charles and Anne Morison.

Photo by Karolina Kuras.

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Principal Dancer and Choreographic Associate Guillaume Côté on New Productions The classics are sacred to me and they are the basis of my love for dance, but I also believe that art and dance are part of everyday life and must evolve.

T h e o p p o r t u n i t i e s I e n j oy to generate work within The National Ballet of Canada mean the world to me. The position of Choreographic Associate gives me the right balance of comfort and challenge to grow as a creative artist, and I do so in a very special place with the full support of Karen Kain.

The exploration and experimentation I wish to pursue require trust and deep understanding. The National Ballet is full of incredibly talented individuals who are unique ar tists in their own rights, and I

feel fortunate that I can collaborate with them and curate their artistry.

I feel comfor table conveying my vision to my colleagues, many of whom I’ve known since I w a s a t e e n a g e r. I n m y w o r k s I am able to draw on these p e r s o n a l re l a ti o n s hip s a n d th e temperaments and personalities of the dancers who are so generous with their talent.

I n t h e w o r k s I ’ ve d e ve l o p e d with the National Ballet, I’ve tried dif fe rent approache s with for m and process each time. I like to challenge our ar t form and take risks. As a young artist I feel it is my responsibility to push boundaries and Karen understands this. I feel that her mandate as Ar tistic Director is exactly that – to

shine new light on classical and contemporary dance.

I’m so proud to dance and create with this company at this point in its history. The National Ballet truly is my home.

Being and Nothingness Moscow & St. Petersburg: October 15 – 19, 2018 Toronto: November 21 – 25, 2018 Lead philanthropic support for Being and Nothingness is provided by an anonymous friend of the National Ballet, The Volunteer Committee of The National Ballet of Canada and The Producers’ Circle.

The Choreographic Associates are generously supported by Sans Limites.

Guillaume Côté is sponsored through Dancers First by Emmanuelle Gattuso, C.M. and Allan Slaight, C.M. Tanya Howard is sponsored through Dancers First by Nancy Pencer.

Clockwise from left: Guillaume Côté rehearsing Le Petit Prince. Greta Hodgkinson in Being and Nothingness. Jenna Savella, Tanya Howard and Heather Ogden in Frame by Frame. Photos by Karolina Kuras.

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The National Ballet of Canada

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Choreographic Associate Robert Binet on New Productions Being part of The National Ballet of Canada, a company I grew up watching and feeling inspired by, is impor tant to me. It means of ten working with dancers with whom I have built a close creative conne c tion. T his e nable s us to immediately dig deeply into the ideas we are exploring as we have a depth of understanding of each other’s minds and ways of moving.

The dancers are willing to go with me wherever the process leads us because they trust that I will work with them to pull out a performance that will be authentic and powerful.

I’m attracted to choreography as an art form because it gives me the opportunity to work in collaboration with people at ever y moment of the creation process. People with full sets of expe rience s, ideas, i m a g i n a ti o n s , exc i te m e n t s a n d fe a r s. C h o re o g r a p hy a ll ows u s to pull all of that to the sur face, to make the body a physical manifestation of everything that’s in

the mind and soul. That’s the goal.

The position of Choreographic Associate is a reciprocal inve stme nt: the National Ballet commits to nurturing my work and creative development, and I commit to wo r k i n g w i t h t h e i n c r e d i b l e artists who call this company home.

There’s a wonderful creative energy among the artists and staff of this organization; a sense of openness and a strong ar tistic vision with room for individual expres sion.

T h a t ’s p a r t of w h a t m a ke s t h e National Ballet, and Canada itself, so unique. Canadian ballet is young and in a sense it has yet to be defined, we are all doing that work every day. There’s so much potential to be explored.

Creating new work gives us an oppor tunity to make statements and tell stories as artists today, that re s onate with u s to day. W ith a focus on new work, ballet becomes p a r t o f c o n te m p o r a r y l i f e a n d culture as both a reflection and

testing ground for new ideas and ways to exist.

The Dreamers Ever Leave You Algoma: October 18 – 20, 2018 The initial presentation of The Dreamers Ever Leave You was supported by Sandra Faire & Ivan Fecan, Kevin Garland, Joan & Jerry Lozinski and The Honourable Margaret McCain, C.C. Lead philanthropic support for The Dreamers Ever Leave You is provided

by The Volunteer Committee of The National Ballet of Canada and The Producers’ Circle.

The Sea Above, The Sky Below Toronto: March 1 – 3, 20 – 21, 2019 The Sea Above, The Sky Below costume design by Erdem Moralioglu is generously supported by Suzanne Rogers.

Xiao Nan Yu and Harrison James in The Sea Above, The Sky Below. Photo by Monica Guddat. Artsts of the Ballet in The Dreamers Ever Leave You. Robert Binet rehearsing The Dreamers Ever Leave You. Photos by Karolina Kuras.

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New Productions

New Productions New work is the lifeblood of our art form.

The National Ballet of Canada under Karen Kain has become a world leader in new productions, expanding the repertoire with exciting work from emerging and established choreographers. These include Romeo and Juliet by Alexei Ratmansky, Alice’s Adventures in Wonderland and The Winter’s Tale by Christopher Wheeldon, Emergence by Crystal Pite, Le Petit Prince

by Guillaume Côté, and Frame by Frame

by Robert Lepage and Guillaume Côté.

The company is also acquiring important work from the world repertoire, including Nijinsky, A Streetcar Named Desire and Anna Karenina by John Neumeier, Chroma and Genus by Wayne McGregor and Paz de la Jolla by Justin Peck.

With a growing reputation for innovation, the company is now a preferred destination for talented dancers, choreographers, musicians and designers, and has resumed international touring. Soaring will create a base of support for the enormous undertaking of mounting new work, giving the National Ballet the flexibility to pursue compelling opportunities as they arise.

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New Productions

New Production Goals To c o l l a b o r a t e w i t h c e l e b r a t e d c h o re o g r a p h e r s o n n e w w o r k s t o engage audiences and push the boundaries of the art form.

Through gifts to the Soaring Campaign, donors have empowered The National Ballet of Canada to: •

Expand the company’s signature repertoire with exciting new works. During her tenure, Karen Kain has added 12 new full-length productions and 39 short works.

•

Commission new work from Canadian choreographers.

•

Forge deeper relationships with leading choreographers and embarking on crossdisciplinary projects with celebrated musicians and artists.

•

Acquire important works from the world repertoire.

•

Support the role of Choreographic Associate to nurture Canadian choreographic talent.

•

Expand the Choreographic Workshop to allow more time for creative exploration.

•

Acquire and repurpose The Gretchen Ross Production Centre for the building, maintenance and storage of 80 legacy productions.

•

Build the National Ballet’s brand as an artistic collaborator of choice internationally.

Skylar Campbell is sponsored through Dancers First by Tricia Younger. Jillian Vanstone is sponsored through Dancers First by George & Kathy Dembroski. Félix Paquet is sponsored through Dancers First by Stephen Delaney & Robyn McCallum.

Clockwise from top: Artists of the Ballet in Frame by Frame. Emma Hawes and Félix Paquet in The Dreamers Ever Leave You. Skylar Campbell with Artists of the Ballet in Pinocchio. Artists of the Ballet in Romeo and Juliet. Evan McKie and Tanya Howard in Genus. Greta Hodgkinson and Jillian Vanstone with Artists of the Ballet in Alice’s Adventures in Wonderland. Photos by Aleksandar Antonijevic, Karolina Kuras and Cylla von Tiedemann.

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Flawless Magic: Anna Karenina

J o h n N e u m e i e r, th e b r illi a n t Director and Chief Choreographer of Ha mburg Ba llet, is a gif te d interpreter of other art forms, often pulling from theatre and literature for themes and stories. Among his literar y-inspired ballets are The Seagull and A Streetcar Named Desire, both added to The National Ballet of Canada’s repertoire under Karen Kain. This fall, the company per forms the Nor th American premiere of Mr. Neumeier’s Anna Karenina, a first-ever cooperation with The Hamburg Ballet and The Bolshoi Ballet. With this latest creation, the National B a ll e t s o li di f i e s i t s re p u t a ti o n as the North American destination f o r b a l l e t s by J o h n N e u m e i e r and presents a powerful new adaptation of the great Russian novel.

M r. N e u m e i e r i s a m a j o r international figure in dance with a celebrated body of work. His ba llets a re re nowne d fo r the ir psychological and emotional d e p t h , e x q u i s i t e d e s i g n ( M r.

Neumeier’s own) and pairing of classical with modern aesthetics.

Anna Karenina, his most recent full-length ballet, possesses them all, and transports Leo Tolstoy’s masterpiece from 19th centur y Russia to the present day where 16

tensions simmer around issues of class, love and duty. The temporal shift is meaningful: Tolstoy wrote about Russian life as it unfolded around him, so Mr. Neumeier does the same, hinging his observations on the particular experiences of t h e t i t l e c h a r a c te r. T h e s c o r e moves in kind, merging the Russian classicism of Tchaikovsky with the modern music of Alfred Schnittke and Cat Stevens.

A sprawling novel of roughly 1, 0 0 0 p a g e s , A n n a K a r e n i n a tells the tragic story of a married noblewoman, Anna, and her affair with Count Vronsky, together with the parallel love story of Levin and Kitty. Tolstoy uses these central narratives as the framework for b r o a d e r qu e s ti o n s of p o li ti c s , religion and class that emerge o v e r t h e n o v e l ’s e i g h t p a r t s , whose striking variations in tone and style – what William Faulkner called their “ flawless magic”— mark a transition from realism to modernism.

Mr. Neumeier’s approach, which often sees him preserving ballet tradition within a modern dramatic f r a m e wo r k , i s s y m p a t h e t i c to Tolstoy’s. He hones in on Tolstoy’s main themes and deploys them across two acts that evade a literal retelling of the novel and focus

i n s te a d o n t h e p syc h o l o g i c a l lives of its characters. Much like Mr. Neumeier’s Nijinsk y, A nna Karenina evokes an experience of the art form at its core – in this case the novel – and probes the inner lives of its players.

Reviews of A n n a Ka r e n in a’s world premiere by The Hamburg Ballet in July 2017, and the Bolshoi Ballet premiere in March 2018, show critics united on the ballet’s visceral and emotional power.

A n n a Ka r e n i n a is a wonde r ful addition to the repertoire and a coveted oppor tunity for ar tists and audiences of the National Ballet to engage with one of the world’s leading choreographers.

The National Ballet of Canada

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presents

Anna Karenina A Ballet by John Neumeier November 8 – 18, 2018 Anna Karenina is a co-operation between The National Ballet of Canada, The Hamburg Ballet and The Bolshoi Ballet.

Lead philanthropic support for Anna Karenina is generously provided by The Walter Carsen New Creations Fund, Richard M. Ivey, C.C., Rosamond Ivey, Margaret Anne Fountain, C.M. and David Glenn Fountain, C.M. and Tim & Frances Price, with additional support from The Volunteer Committee of The National Ballet of Canada, The Producers’ Circle and Warren Sorensen in memory of Gregory Williams.

The Producer’s 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 McCowanJohnson & 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.

Heather Ogden is sponsored through Dancers First by Ira Gluskin & Maxine Granovsky Gluskin.

Heather Ogden. Photo by Kiran West. Svetlana Lunkina in rehearsal for Anna Karenina. Svetlana Lunkina and Harrison James in rehearsal for Anna Karenina. Photos by Edwin Luk.

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Touring

Touring The National Ballet of Canada re t u r n s t o t h e w o r l d s t a g e .

Artistic Director Karen Kain has restored the necessary conditions for international touring by investing in new productions and raising the calibre of dancing throughout the company. As a result, there is new demand to see, promote and collaborate with the National Ballet among international audiences and artists, and the company has made a glorious return to the world stage.

With the help of Soaring, The National Ballet of Canada is performing for the first time ever in both Moscow and St. Petersburg, Russia as part of Diana Vishneva’s Context festival. The National Ballet has made repeat appearances in New York City, Los Angeles and London, England, along with additional engagements in Saratoga Springs, Washington, D.C., San Francisco, Hamburg and, for the first time in 45 years, Paris, France. The National Ballet recently earned the title “Best Company of the Year” for its performances of Nijinsky in Paris from L’Association Professionnelle de la Critique de Théâtre, de Musique et de Danse.

Touring enables the National Ballet to share our vision of Canadian dance with the world and to leverage investment in new works while engaging new audiences at home and abroad. Karen enjoyed an international career as a dancer, and she is committed to providing today’s dancers with exposure to new audiences, experiences and influences.

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Touring

Touring Goals To s h o w c a s e C a n a d i a n d a n c e excellence on the world stage.

Through gifts to the Soaring Campaign, donors have empowered The National Ballet of Canada to: •

Present its most talented artists and productions to new audiences.

•

Perform in major dance centres: London, Paris, New York City, Washington, DC, Los Angeles, San Francisco, Hamburg, Moscow and St. Petersburg, and an annual presentation at the National Arts Centre in Ottawa.

•

Explore opportunities to return to Sadler’s Wells, Lincoln Centre, Kennedy Center and Los Angeles Music Centre, along with other destinations in Canada and Europe.

•

Provide dancers and company artists with more performance opportunities and greater exposure.

•

Contribute to Canada’s reputation as a culturally-rich nation.

Elena Lobsanova is sponsored through Dancers First by Sandra Faire & Ivan Fecan. Alexandra MacDonald is sponsored through Dancers First by an anonymous donor. Ben Rudisin is sponsored through Dancers First by an anonymous donor.

Clockwise from top: Karen Kain and Guillaume Côté outside Théâtre des Champs-Élysées in Paris. Alexandra MacDonald in Paris. Jordana Daumec in Paris. Elena Lobsanova in New York City. Ben Rudisin in Paris. Photos by Aleksandar Antonijevic, Karolina Kuras and Kiran West.

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First Soloist Jenna Savella on Touring Thanks to the dedicated efforts of Karen Kain and Barry Hughson, along with the generosity of donors inspired to support what they believe in, we are enjoying incredible opportunities to perform in major dance centres around the world. With our strengthened position on the international stage, the wor ld is be ginning to se e, recognize and celebrate Canadian talent and Canadian work.

We re ceive d an incre dible reception from audiences at the July 2018 Hamburg Ballet Days festival, where we presented three diverse works – Emergence by Crystal Pite, The Man in Black by James Kudelka and The Dreamers Ever Leave You by Robert Binet.

T he de cision to showc a se the uni qu e Ca nadia n t a le nt in ou r repertoire was brave, admirable and ultimately a great success.

We have the opportunity to make the same impression in Russia in October, when we tour to Moscow and St. Petersburg with another contemporar y programme: Emergence by Crystal Pite, Being and Nothingness by Guillaume Côté and Paz de la Jolla by Justin

Peck. Ballet is ingrained in Russian culture, par ticularly classical ballet, so there is some pressure to represent ourselves well. This will be the first time The National Ballet of Canada per forms in Russia, and I feel honoured to have this opportunity to share our dance culture, the versatility of our company – one of our greatest strengths – and the collaboration a m ong the wonde r ful da nc e r s currently in our roster.

Every opportunity to perform is a privile ge and there is adde d pride in representing our company and our nation while on tour. There is something truly special, and humbling, about being war mly received in a dif ferent cit y. We come together as a company on tour as we adapt to the challenges of travelling, with jet lag, time changes, unfamiliar stages and added adrenaline. It’s satisfying to face these experiences as a company, and work together to succeed. I look for ward to the future of this company and the new and exciting touring opportunities to come.

The National Ballet of Canada gratefully acknowledges Margaret Anne Fountain, C.M. and David Glenn Fountain, C.M. as our Exclusive Russia Tour Partners.

Emergence is generously supported by Gail Hutchison.

Lead philanthropic support for Being and Nothingness is provided by an anonymous friend of the National Ballet, The Volunteer Committee of The National Ballet of Canada and The Producers’ Circle.

Lead philanthropic support for Paz de la Jolla is provided by The Volunteer Committee of The National Ballet of Canada, Julie Medland in memory of her husband Ted, and The Producers’ Circle.

Jenna Savella is sponsored through Dancers First

by Elvio & Marlene DelZotto.

Jenna Savella in London, England. Photo by Karolina Kuras.

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The National Ballet of Canada

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Second Soloist Miyoko Koyasu A year ago, the company performed Nijinsky at the historic Théâtre des Champs-Elysées T he atre in Pa r is. T he au die nc e response was fantastic and Karen K a in wa s e m otio n a l du r in g h e r remarks at the post-performance reception. It was truly a special time for all of us. The production itself requires the full company, and demands so much from us in its technique and its emotional arc.

It was an amazing opportunity to take such a large production to Paris and for us to showcase the teamwork that makes me proud to be a part of this company. The Paris reviews acknowledged the work of the ensemble, from the Principal Dancers to the Corps de Ballet. And we were joined by many donors to cheer us on. They are behind the scenes, but because of them, we were in Paris.

I h ave g r ow n s o m u c h a s a n a r t i s t b e c a u s e o f my i n s p i r i n g and supportive colleagues at The N a ti o n a l B a ll e t of Ca n a d a , th e coaching and mentoring we receive, the challenging and satisf ying new productions we dance, and the oppor tunities to per form for new audiences. I am grateful to the donors who help make it all p o s s ib l e. W h e n I a t te n d d o n o r events, I am gratified to meet the donors who appreciate our work and are interested in our careers.

I t i s exc i t i n g to s e e h ow t h e National Ballet has become a vibrant par t of Canada’s histor y and culture. Over the years, and especially under Karen Kain, the company has become internationally known and respected. I hope this momentum lasts well into the future.

Miyoko Koyasu. Photo by Karolina Kuras.

The National Ballet of Canada

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Endowment

Endowment A s t ro n g e n d o w m e n t w i l l e n s u re the continued success of The National Ballet of Canada.

The National Ballet of Canada, Endowment Foundation provides continuous support in the near term and preserves a legacy for the future, giving The National Ballet of Canada the power to realize its full potential to move, teach and inspire now and for generations to come. Funds raised through Soaring will extend the current period of creative growth by contributing to a strong base of financial support, and give future artists and audiences the chance to experience the National Ballet at its finest.

Established in 1999, the Endowment Foundation has experienced tremendous growth thanks to the generosity of donors, corporate gifts and government matching programmes. Income from this capital provides a secure foundation on which to build each season, and allows for artistic development and planning over the long-term. With funds now exceeding $75 million, the Endowment Foundation is one of the largest performing arts endowments in Canada and amongst the top four ballet endowments in the world.

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Endowment

Endowment Goals To e n s u re f u t u re g e n e r a t i o n s will continue to experience the transformative power and beauty of ballet.

Through gifts to the Soaring Campaign, donors have empowered The National Ballet of Canada to: •

Create a powerful legacy for dance in Canada.

•

Manage assets of $75 million, with in excess of $100 million by the early 2020s.

•

Increase the annual grant from the Endowment Foundation to the National Ballet to a record $2.4 million, the eighth consecutive record disbursement, with a goal of $3 million annually.

•

Establish named funds to nurture talented artists, produce innovative new works and share an exciting repertoire with audiences nationally and internationally.

Naoya Ebe is sponsored through Dancers First by Gretchen Ross.

Naoya Ebe. Photo by Karolina Kuras.

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Anna McCowan-Johnson and Donald K. Johnson, O.C. O v e r t h e y e a r s , w e’ v e b e e n thrilled to see The National Ballet of Canada flourish into a company of international renown and significance. Anna has been a dancer all of her life, performing on television and eventually founding her own school, the Interplay School of Dance. Our joy in suppor ting the National Ballet is seeing how lives are touched by the art form, as it has touched ours, whether that means introducing childre n and stude nts to ballet

through educational programming, or inspiring audiences with the best dancers in the most exciting and exceptional productions.

Anna understands firsthand the benefits of dance for young people, from good posture, balance and flexibility, to self-discipline, creativity, empathy and confidence.

We hope that the National Ballet’s education programmes will give more students the opportunity to experience these gifts, and be a catalyst for inspiring future dancers,

The National Ballet of Canada’s Education and Outreach programmes are generously supported by the Anna McCowan-Johnson Dance Accessibility Fund at The National Ballet of Canada, Endowment Foundation.

Donald K. Johnson, O.C. and Anna McCowan-Johnson.

Photo by Karolina Kuras.

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a r tis ts a nd c re ative thinke r s in Canada and internationally.

Karen Kain has taken The National Ballet of Canada to new heights of artistic excellence and it is now recognized as one of the pre-eminent companies in the world. We are proud to support her vision for the future and to share the incredible riches of this company that we love.

Anna McCowan-Johnson and Donald K. Johnson, O.C.

The National YOU dance Livestream

On April 25, The National Ballet of Canada’s YOU dance performance was livestreamed to over 25,000 students, reaching every province and territory, including in Iqaluit, Nunavut, the northernmost city to tune in.

The livestream is one par t of a constellation of programmes that m a ke u p t h e N a t i o n a l B a l l e t ’s flagship engagement programme for students. In addition to introducing students to ballet pe r for mance and repertoire, YOU dance instills a sense of joy and connection to the ar ts, promotes creative imagination, and encourages dance as a means of physical, emotional and creative expression.

The YOU dance livesteam uses digital technology to reach more young Canadians than ever before.

This initiative, making ballet more accessible, has enormous potential for inspiring a love of dance in young people right across the country.

Students at a YOU dance performance.

Photo by Alana de Haan.

The National Ballet of Canada

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“Thank you so much for giving our students an incredible and unique experience. We are a very small, inner city school, located in one of the most impoverished areas of the Lower Mainland of Greater Vancouver, in the north end of Surrey. Our students come from the kind of poverty that people refuse to believe exists – especially in a beautiful idealistic setting like ours. Today, however, you were able to break down that obstacle and bring something special to our Grade 6s and 7s. As an audience, they were amazing: silently watching every dance, and each student had their own favourite with great reasons as to why. The best part was the effect after the livestream was over. The students were all trying to imitate the dance moves and were all talking about how amazing the dancers were in terms of strength and focus.”

Bridgeview Elementary School, Surrey, British Columbia

“Once again, my students who are developmentally delayed enjoyed the livestream. At recess I saw them trying out some of the jumps in the yard. Thanks to you, the students have been exposed to culture that they NEVER would have otherwise.”

Sir John A. Macdonald Public School, London, Ontario

“Congratulations to the performers, presenters, pianist and production staff! My two classes and I enjoyed the livestream thoroughly! The pacing of the dance and discussion was well-planned and did not leave my students restless. As a prep teacher, I thought this programme was engaging and directly related to our curriculum documents for Dance. The livestream allowed us (as a rural school) to experience live performance with zero cost or travel.”

Walsh Public School, Simcoe, Ontario 25

Community Engagement

Community Engagement The National Ballet of Canada s h a re s t h e j o y o f d a n c e The National Ballet of Canada delivers an array of inclusive, engaging programmes to expose young people to the art of dance, reaching them in theatres, schools, hospitals, at home and in their own communities. With this growing complement of programmes, the company hopes to encourage self-discovery, confidence, empathy, physical wellbeing and a sense of belonging among young people, and to spark an appreciation for the arts that will endure throughout their lives.

The centrepiece of the company’s education programme is YOU dance, a targeted initiative for students in grades four to six to experience ballet through free workshops and performances featuring dancers from the RBC Apprentices Programme.

YOU dance is carefully designed to help stimulate creative imagination, introduce the idea of dance as a means of physical, emotional and creative expression, and provide a window on life as a professional dancer. Now entering its 12th season, YOU dance has reached more than 200,000 students since it was created in 2007.

Soaring will help to protect and expand free programming for youth and their families, particularly those without ready access to the arts.

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Community Engagement

Community Engagement Goals To i n t ro d u c e C a n a d i a n s t o t h e magic of live performance and to encourage movement, music, c re a t i v i t y a n d i m a g i n a t i o n .

Through gifts to the Soaring Campaign, donors have empowered The National Ballet of Canada to: •

Expand the reach of the YOU dance programme by using technology to livestream to students across Canada.

•

Introduce the YOU dance Residency pilot project to provide a more intensive experience in dance and creative self-expression for under-served neighbourhoods.

•

Offer YOU dance performances to individuals with autism and special needs, together with their families.

•

Create the Specialist High Skills Major (SHSM) workshops to provide learning opportunities for high school students.

•

Increase opportunities for individuals facing socioeconomic or health challenges to attend a free performance through Share the Magic.

•

Partner with four other leading companies on World Ballet Day, a livestream that takes fans from around the world behind the scenes.

•

Extend the reach of education programmes beyond borders with emerging and interactive media.

From top: Students at a YOU dance performance. Jordana Daumec with Artists of the Ballet at company class for World Ballet Day. RBC Apprentices with YOU dance participants. Photos by Alana de Haan, Karolina Kuras and Bruce Zinger.

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Flora Do The National Ballet of Canada h a s l o n g p l aye d a c e n t r a l r o l e in my life, from the time I went to per formances at the O’Keefe Centre as a young “bunhead” with my mom, to my high school and university days, when I introduced friends to the beaut y of dance.

Today, as a member of Turnout, the ballet continues to feed my artistic side and provide me with opportunities to build relationships, all while I’m enjoying my favourite art form.

Now that I am in the for tunate position to support the ballet as a donor, I want to help ensure that the company’s outreach programme continues to expand and to reach people in the far-flung corners of our global community, particularly those who have less visibility to ballet. Growing up in a workingclass family, I was able to access ballet as a young student through the DanceBreak programme. I want to give that gift to others.

L o o k i n g a h e a d, I wo u l d l ove to see the National Ballet use its global influence to forge a healthy and diverse dancer base, and to reach audiences of the future in dynamic and engaging ways. We have so many new ways to share the arts that didn’t exist in previous generations. It’s critical that we use them to nurture the next generation, to inspire and include them with meaningful dance.

Flora Do

Flora Do. Photo by Karolina Kuras.

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The National Ballet of Canada

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Get Involved To date, donors to the Soaring Campaign have made their mark on the company by investing in core strategic and artistic priorities of The National Ballet of Canada.

With eight months to go, we invite every Canadian to join this transformational campaign to enrich our national culture.

Campaign Goal $100 million

Funds to Raise $6 million

Campaign Pledges $3 million

Funds Raised to Date $91 million

(As of October 1, 2018) Jurgita Dronina. Photo by Karolina Kuras.

The National Ballet of Canada

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A Message from the Director of Development

Soaring Reaches New Heights This fall begins the final phase of our Soaring Campaign, which is raising vital funds across five priority areas in support of Karen K a i n’s a m b i t i o n s f o r c r e a t i v e grow th. Soaring has raise d an incre dible $ 94 million to date, bringing us very near to realizing o u r $ 10 0 m i l l i o n g o a l . M a n y ge ne rou s individua ls f rom our community have come forward to partner with the company on this endeavour and we are grateful for their leadership and passion.

Gifts to Soaring create immediate benefits for The National Ballet of Canada, including the calibre of

talent Karen attracts each year, her choice of repertoire, touring activity and even the education and outreach programme. Soaring has helped to fund exciting new productions, including the Nor th American premiere of John Neumeier’s Anna Karenina this November. Soaring is also facilitating an accelerated touring schedule, with appearances in 2018 in San Francisco, Hamburg, Moscow and St. Petersburg, along with enhanced education and outreach activities through livestreaming and in-theatre and in-school events.

As we look ahead to completing Soaring in 2018/19 and realizing o u r $10 0 m i l l i o n g o a l , I w a n t to recognize your role in the c o m p a n y ’s m a n y s u c c e s s e s to date, and to invite you to participate in the final stretch of thi s tr a n s fo r m ative c a mpa ig n.

Soaring is more than a long-term growth strategy; it is creating real change for audiences and artists today. I hope that you will join us in helping the National Ballet to continue to soar.

Diana Reitberger, CFRE Director of Development

Heather Ogden and Guillaume Côté in Paris. Photo by Karolina Kuras.

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The National Ballet of Canada

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Join Us With the generosity of a dedicated community of support, The National Ballet of Canada is investing in talent and creativity to engage individuals more than ever before. Each gift to the Soaring Campaign fuels creative collaborations, expands our community footprint, and broadens our reputation and influence internationally.

Gifts at every level will have an enormous impact on our artists and audiences. Make your mark on the evolution of ballet by supporting the Soaring Campaign.

Gifts of $100 - $10,000 Recognition in Soaring Campaign and National Ballet communication materials and an invitation to a special thank you event.

Gifts of $10,000+ Enjoy enhanced opportunities to gain deeper insight into the company, and choose to focus your support on the following funding priorities: • • • • •

Artistic Excellence New Productions Touring Education & Outreach Endowment Foundation

To make a gift or for further information, contact: soaring@national.ballet.ca or 416 345 9686 x388.

national.ballet.ca/soaring

Sonia Rodriguez. Photo by Karolina Kuras.

The National Ballet of Canada

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“The Soaring Campaign has already been transformational to the vitality of The National Ballet through the commissioning of exciting new works, improved quality of life for our artists, and broader engagement in our community. The Campaign’s impact will be felt for generations, especially with the growth of our Endowment Fund providing a stable and secure bridge to our future. Join us to help the National Ballet soar ever higher!”

Executive Director Barry Hughson

Artists of the Ballet during the curtain call f o r E m e r g e n c e i n H a m b u r g . P h o t o b y K i r a n We s t .

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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