2017-2018 Season Program Book

2017 -2018

SEASON

Photo Matthew Holler

WHAT YOU SEE IS WHAT YOU GAVE

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T H E S A R A S OTA B A L L E T ’ S

2017 - 2018 SEASON THE SECRET GARDEN PROGRAM 1 | 27 - 29 October 2017 Through its choreography, puppetry and narration the characters and garden come to life.

FSU Center for the Performing Arts

METROPOLITAN PROGRAM 2 | 1 - 2 December 2017 Sir Frederick Ashton’s Illuminations Marcelo Gomes’ World Premiere George Balanchine’s Theme and Variations Sarasota Opera House Accompanied by the Sarasota Orchestra

JOHN RINGLING’S CIRCUS NUTCRACKER PROGRAM 3 | 15 - 16 December 2017 This wonderful festive ballet beautifully blends the traditional Nutcracker story with the Circus.

Van Wezel Performing Arts Hall Accompanied by the Sarasota Orchestra

THE SARASOTA BALLET PRESENTS

BALLET HISPÁNICO PROGRAM 5 | 23 - 25 February 2018 “Rendering its culture universally accessible, they bring together themes that we can all identify with.”

FSU Center for the Performing Arts

DREAMS OF NATURE PROGRAM 6 | 2 - 3 March 2018 Sir Frederick Ashton’s The Dream David Bintley’s ‘Still Life’ at the Penguin Café Van Wezel Performing Arts Hall Accompanied by the Sarasota Orchestra

GREAT MASTERS OF DANCE Program 7 | 27 - 28 April 2018 Antony Tudor’s The Leaves are Fading George Balanchine’s Bugaku Sir Frederick Ashton’s Marguerite and Armand Sarasota Opera House Accompanied by the Sarasota Orchestra

Victoria Hulland & Ricardo Graziano in Sir Frederick Ashton’s Marguerite and Armand Photo Frank Atura

MOVING IDENTITIES PROGRAM 4 | 26 - 29 January 2018 Paul Taylor’s Airs Ricardo Graziano’s Valsinhas Robert North’s Troy Game FSU Center for the Performing Arts

Front Cover photograph by Frank Atura Ellen Overstreet in George Balanchine’s Bugaku 1

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IAIN WEBB D I R E C TO R

Welcome to The Sarasota Ballet’s 2017 – 2018 Season, where you will experience ballet in its many forms and expressions, from the Russian classicism of George Balanchine’s Theme and Variations, the contemporary style and uniqueness of Paul Taylor’s Airs, the storytelling and musicality of Sir Frederick Ashton’s The Dream, to the thought provoking and prophetic nature of David Bintley’s ‘Still Life’ at the Penguin Café.

The Sarasota Ballet has built a reputation for not only its vast and varied repertoire of works, but also for our dedication and commitment to producing ballets that have the same passion and authenticity on stage today as they had during their original premieres. To do this, we bring to Sarasota artists, choreographers, repetiteurs and conductors who worked closely with the original choreographer so that they can pass on their expertise and knowledge to the next generation of dancers and ensure that these great works continue to inspire audiences and artists alike for many years.

However, as I have said many times, I feel very strongly that it is important for us not to become a museum company and that whilst we care for and respect the rich history of dance, we must likewise look at our present and future, and cultivate and develop the dancers and choreographers of today and tomorrow. For a dancer, the experience of having ballets created on you is invaluable, and having the opportunity of performing alongside and learning from guest artists is an experience that stays with you throughout your career. I know our dancers are as excited as I am to be able to share the studio and stage with this Season’s incredible guest artists: Marcelo Gomes, Principal Dancer with American Ballet Theatre, who will choreograph a World Premiere on the Company; Friedemann Vogel, Principal Dancer with the Stuttgart Ballet, who will dance in Ashton’s The Dream; and Xander Parish, Principal Dancer with the Mariinsky Ballet, who will dance in Ashton’s Marguerite and Armand.

As an audience member, you get to experience thrilling new works and see our talented dancers alongside exciting guest artists from across the globe.

I hope that you will join us throughout this Season to experience our amazing Company, to witness these beautiful ballets and to cherish this incredible art form. Together we have created a ballet company that is unique, not only in its ambition but also in its reach, and I hope that you are as excited and proud of this Season as we are.

As I close, I would like to take this opportunity to pay special tribute to two extraordinary people, Joseph Volpe, Executive Director, and Margaret Barbieri, Assistant Director. Both Joseph and Margaret come from astonishing backgrounds in the arts, and the wealth of knowledge and passion they bring to the Company every day is truly invaluable.

Once again, welcome to The Sarasota Ballet’s 2017 – 2018 Season and thank you for being a part of this exciting year.

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One Donor 90 Funded Performances

800 Unlocked Imaginations

1600 Standing Ovations

Be The One Each one of us has the potential to impact a person, a cause, a community.

For more than 35 years, the Community Foundation of Sarasota County has matched donors to the right causes, creating lasting impact. You can be the one to make a difference. Call us today, (941) 955-3000. cfsarasota.org

JOSEPH VOLPE E X E C U T I V E D I R E C TO R

Picasso once said that “the purpose of art is washing the dust of daily life off our souls,” and although I imagine he was mostly referring to the visual arts, I believe this is true of all the varied art forms, from ballet and opera to the symphony and dramatic theatre. Art has a sacred duty to not only give voice to the artist’s inner creativity, but also provide audiences with an experience that enriches, challenges, uplifts and helps them explore areas of their own lives in a different light.

It is because of this that the future of The Sarasota Ballet is of such importance to me. What this Company has achieved and what we have in store for you is truly remarkable, and therefore continuing to ensure The Sarasota Ballet’s financial stability and prosperity is of paramount priority. Working with Director Iain Webb and Assistant Director Margaret Barbieri, we strive to preserve the Company’s artistic integrity as well as its viability through refocusing our foundation and continuing our commitment to accountability and transparency. This is why for the third year in a row we have earned the highest rating possible, a 4-star rating, from Charity Navigator, America’s largest independent charity evaluator.

However it is important to understand the subtle yet vital difference between creating art to make money and making money to create art. It is not by chance that The Sarasota Ballet has in such a short period of time placed itself securely in the world of American dance; it is because of our reputation as a Company with integrity and devotion to the art form. What is being done here in Sarasota is of great importance, and I can say from experience that there are very few companies that are performing the range and repertoire that we see here every season. All of this is made possible because of our exceptionally dedicated dancers and our hard working staff.

Of course without our patrons and audience all that we do will have been for naught, and so I want to thank you for your constant and continued support. We have built something very special here in Sarasota and to see the generosity, love and loyalty that so many of you show is very heartwarming indeed.

I’m sure you are as thrilled and enthused as I am for this Season and I look forward to enjoying this experience with you in the theatre.

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MARGARET BARBIERI A S S I S TA N T D I R E C TO R

Welcome to our 2017-2018 Season, which is truly a feast of ballets, many of which we have longed to see our Company perform. Ballet captivated me from a very early age, and since then I have dedicated myself to the art form, as a student, a dancer, a teacher, a repetiteur and of course as Assistant Director of The Sarasota Ballet. Like all the classical arts, ballet provides us with a way of expressing ourselves and reflecting upon our lives in a manner that cannot be replicated. However, what sets it apart from the other classical art forms is its fragile nature and its delicate yet powerful presence. This contrasting definition comes from the way in which ballet is passed on from person to person. Its essence, and in many ways its soul, exists in the bodies and minds of the choreographers and dancers that breathe life to the art form, and because of this, it can be so easily lost if not cared for and nurtured. I have had the privilege to have worked with many of the great dancers and choreographers during my time as a Principal Dancer with The Royal Ballet, and whilst I have treasured my career on stage, I can honestly say that working with our marvelous dancers and passing on the knowledge and artistry that was passed on to me has been the highlight of my career in the world of ballet.

This Season, alongside extraordinary ballets that showcase the vast versatility and vibrant nature of dance, we will have the incredible honor of having Sir Anthony Dowell, the greatest British classical male dancer and former Director of The Royal Ballet, come to Sarasota to work with our dancers. We were thrilled when Sir Anthony gave us permission to perform Sir Frederick Ashton’s The Dream, a ballet that Ashton created on him and passed on to him after his death. To have Sir Anthony pass on his wealth of knowledge, expertise and artistry to our dancers will be a fantastic experience for us all and truly the greatest highlight of the Season.

I hope that you will join us throughout the Season as we perform 13 unique ballets by 10 gifted choreographers, ranging from classics such as Ashton’s Marguerite and Armand, contemporary works by modern-day choreographers like Ricardo Graziano, our talented Resident Choreographer, to provocative ballets like George Balanchine’s tribute to Japanese music and dance, Bugaku.

Of course this astounding Season would not be possible without our tremendous donors and our dedicated audience. Your support and generosity is what enables us to bring these spectacular works to Sarasota and to firmly place the Company in the American Ballet World.

Thank you and please enjoy The Sarasota Ballet’s 2017 – 2018 Season.

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F U N C T I O N AL

A R T W O R K

FOR THE GALLERY YOU CALL HOME

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HILLARY STEELE BOARD CHAIR

As Chair of the Board of Directors, I am delighted to welcome you to The Sarasota Ballet’s 27th Season.

Last year we celebrated A Decade of Webb and before it was over, we issued a new contract to Director Iain Webb for another 10 years. It was a decision I am sincerely proud to have been a part of because his leadership and artistic vision have brought us 38 world premieres and 7 American premieres by 37 internationally renowned choreographers; invitations to perform at the Kennedy Center, Jacob’s Pillow Dance Festival, The Joyce Theater and The Guggenheim in New York as well as rave reviews in The New York Times, The Washington Post, The Wall Street Journal, Dance Europe and media too numerous to mention.

Joseph Volpe’s experience as General Manager of The Metropolitan Opera continues to be invaluable. His deep knowledge of the performing arts is advancing our operations and raising our stature. The administrative team is strong and committed to ensuring the future of The Sarasota Ballet.

We continue to introduce people of all ages to the joy of dance building future dancers and audience members. This is the 6th Season of The Margaret Barbieri Conservatory, the 26th Season of our 10-year, full-scholarship program Dance – The Next Generation and the 25th Season of The Sarasota Ballet School teaching students ages 3 to 83. With the addition of the Studio Company this Season, we realize a dream of continuous education across all ages and skill levels.

It is because of you, the audience, donors, board members and volunteers, that The Sarasota Ballet has become a jewel in Florida’s cultural crown. Thank you for your enthusiastic support.

With love,

The S ar asota B allet

BOARD OF DIRECTORS FOUNDER / CHAIR EMERITUS J ean Weidner G old stein CHAIR EMERITA Sydne y G oldstein LIFETIME DIRECTOR M ar v i n D anto* EXECUTIVE OFFICERS H illar y S teele B oard Ch air Judy Cahn

Vice Ch air

Pat K enny

Treasurer

R i chard J ohnson

S ecret ar y

R i ch S egall

G over n an ce

GENERAL DIRECTORS J onathan Coleman Ly nda D oe r y Patr ici a G ole mme Bar bar a J acob S ean K een an Fr ank M ar t ucci Teresa M asterson Peter M iller Audre y R ob b in s M aureen S tein er J ean Weiller S ally Yanowit z HONORARY DIRECTORS M ar k Fam ig lio D r. Bar t Pr ice

* D e ce ase d

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A D G, I’M NOT. I WAS BORN FOR A PURPOSE. TRAINED TO HELP HER. SHE HOLDS ME WHEN SHE’S AFRAID, WHISPERS THAT I SAVED HER — THAT I AM HER BRIGHTEST STAR. I AM HER GUIDE, HER SUPPORT, HER FRIEND. A DOG, I’M NOT.

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JEAN WEIDNER GOLDSTEIN FOUNDER & CHAIR EMERITUS

Planned for us this season are breathtaking moments in a vast array of ballets by some of the world’s most loved choreographers, and I am filled with anticipation. What a treasure we have in Director Iain Webb and Assistant Director Margaret Barbieri! Their depth of knowledge, exceptional contacts and commitment to this art form is extraordinary and it shows on stage. The diverse repertoire—reviving historical ballets and premiering new works—challenges our dancers and thrills audiences.

The ballet world recognizes the significance of the revivals and rarely performed works being done here, most especially those of Sir Frederick Ashton, and the reputation of this Company continues to grow because of it. That is why my dear late husband Al Goldstein and I chose to support touring. Iain and Margaret have built a repertoire and company worthy of presentation around the nation.

How exciting it is that the Company will be represented again in New York this season when some of the dancers will join Iain, Joseph and American Ballet Theatre principal dancer and choreographer Marcelo Gomes in a workshop entitled New and Classical Voices in Dance at The Works and Process series at The Guggenheim Museum in New York.

Alongside this ambitious growth come growing pains that all successful companies experience. As the Founder who launched this enterprise from a kitchen 26 years ago with hope and sheer determination, I can attest to the many growing pains of building a ballet company. We are so fortunate to have the expertise of Joseph Volpe, former General Manager of The Metropolitan Opera, in the role of Executive Director to navigate the seas of change.

I am filled with awe at how far we have come and my heart is full with those who have given love and support in the past and present. Thank you to all the new supporters who have joined our ranks. We are so grateful to you all for helping to create this extraordinary cultural asset in which we take such pride.

To Iain, Joe, Maggie, the Company, administrative staff, board members and donors, congratulations on this, our 27th season of The Sarasota Ballet.

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I N LO V I N G M E M O R Y O F

ALFRED R. GOLDSTEIN

Alfred Goldstein’s influence was felt deeply throughout our community and far beyond.

He brought not only vision and financial support, but also business acumen to the organizations he cared for. The Sarasota Ballet was fortunate to be among them.

His Legacy is one of commitment, investment, philanthropy and love, especially for his wife Jean Weidner Goldstein. Her passion for The Sarasota Ballet inspired the Touring Fund, named in her honor, that he set up to allow The Sarasota Ballet to champion Sarasota across the nation.

“Al was an exceptionally intelligent and generous person. He always had this little twinkle in his eye as he ‘guided’ you to the position he wanted. He wasn’t always easy, but he was great fun. We both shared a love of negotiating, and so our one-on-ones were always very lively!” - Joseph Volpe “I will always have such great respect for Mr. Goldstein. From the first time I met him in 2007, right up until the last time I saw him, he was always a person who made me feel incredibly at ease. Even though he would never sugar coat his advice, I always knew that I could go to him for guidance. What I will always treasure is the warm and gentle smile he would have after a performance and of course his sharp sense of humor.”

- Iain Webb

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T H E S A R A S OTA B A L L E T ’ S

2007 - 2018 REPERTOIRE Sir Frederick Ashton A Wedding Bouquet, Birthday Offering, The Dream, Enigma Variations, Façade, Illuminations, Jazz Calendar, La chatte métamorphosée en femme, La Fille mal Gardée, Les Patineurs, Les Rendezvous, Marguerite and Armand, Méditation from Thaïs, Monotones I, Monotones II, Rhapsody Pas de Deux, Scènes de ballet, Sinfonietta, The Sleeping Beauty Awakening Pas de Deux, Symphonic Variations, Tweedledum and Tweedledee, The Two Pigeons, Valses nobles et sentimentales, Voices of Spring Pas de Deux, The Walk to the Paradise Garden George Balanchine Allegro Brillante, Apollo, Bugaku, Divertimento No. 15, Donizetti Variations, The Four Temperaments, Jewels (Emeralds, Rubies & Diamonds), Prodigal Son, Serenade, Stars and Stripes, Tarantella, Theme and Variations, Who Cares?

David Bintley Scottish Dances, ‘Still Life’ at the Penguin Café Sir Matthew Bourne Boutique, The Infernal Galop August Bournonville Flower Festival in Genzano Pas de Deux, The Jockey Dance, The Kermesse in Bruges Act I Pas de Deux, William Tell Pas de Deux Christopher Bruce Sergeant Early’s Dream James Buckley Anne Frank

Flemming Flindt The Lesson Michel Fokine Les Sylphides, Petrushka Marcelo Gomes World Premiere Matthew Hart Cry Baby Kreisler, John Ringling’s Circus Nutcracker, Tchaikovsky’s Ballet Fantasy Johan Kobborg Napoli Act III (after Bournonville), Salute Joe Layton The Grand Tour Sir Kenneth MacMillan Concerto, Elite Syncopations, Las Hermanas, Summer Pas de Deux Vaslav Nijinsky L’Après-midi d’un Faune (The Afternoon of a Faun) Robert North Troy Game Rudolf Nureyev Raymonda Act III Renato Paroni Rococo Variations Anna Pavlova The Dragonfly Solo

Peter Darrell Othello

Marius Petipa The Black Swan Pas de Deux, Bronze Idol from La Bayadère, Diana and Actaeon Pas de Deux, Don Quixote Pas de Deux, La Bayadère Pas de Trois - Pas de Deux - Coda - Finale, Le Corsaire Pas de Trois, Paquita

Agnes de Mille Rodeo

Yuri Possokhov Firebird

Dame Ninette de Valois Checkmate, The Rake’s Progress

André Prokovsky Anna Karenina, Vespri

John Cranko Pineapple Poll

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Robert de Warren The Nutcracker [production]

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T H E S A R A S OTA B A L L E T ’ S

2007 - 2018 REPERTOIRE Jerome Robbins Fancy Free

COMPANY CHOREOGRAPHY – THEATRE OF DREAMS

Galina Samsova Paquita [production]

Ricki Bertoni Hip 2 Be Square, Ragtop

Paul Taylor Airs, Company B

George Birkadze Farandole

Twyla Tharp In The Upper Room, Nine Sinatra Songs

Jamie Carter À Deux Mains, Addio ad un Sogno, Concordium, Five Duets (Between Longing and Yearning), Holiday Overture, The Tarot

Will Tuckett Changing Light, Lux Aeterna, The Secret Garden, Spielende Kinder Antony Tudor Continuo, Gala Performance, The Leaves are Fading, Lilac Garden

Meg Egington Cézanne’s Doubt Pavel Fomin Hommage à Chopin

Vasily Vainonen Flames of Paris Pas de Deux

Alex Harrison The Blue Hour

Hans van Manen Grosse Fuge

Kate Honea Baroque and Blues, Gitana Galop, Headlines, Percolator

Dominic Walsh Bello, Camille Claudel La Valse Pas de Deux, Clair de Lune, Dying Swan, I Napoletani, Time Out of Line, The Trilogy: Wolfgang Amadeus Mozart, Wolfgang for Webb Christopher Wheeldon The American, Prokofiev Pas de Deux, There Where She Loves Sir Peter Wright Giselle [production], The Mirror Walkers, Summertide

Logan Learned Nebulous, Scene de Ballet Octavio Martin On The Outside, Orpheus and Eurydice David Tlaiye Xibalba Kelly Yankle Ne Me Quitte Pas

RESIDENT CHOREOGRAPHER Ricardo Graziano Before Night Falls, En las Calles de Murcia, In a State of Weightlessness, Pomp and Circumstance, Shostakovich Suite, Sonata in Four Movements, Symphony of Sorrows, Valsinhas.

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BIOGRAPHIES

MARJORIE A. FLOYD M A R K E T I N G A N D D E V E LO P M E N T D I R E C TO R Marjorie A. Floyd has extensive experience as an executive for charitable foundations, private corporations, and as a consultant. Her career began building brands for national and multi-national corporations.

In 1996, she founded a consulting company in Sarasota to provide strategic planning, fundraising, business development, marketing and public relations services to private and not-for-profit organizations.

Gulf Coast Community Foundation hired Marjorie as a consultant and subsequently she became Vice President for Marketing and Development where she helped individuals and families achieve their philanthropic goals using the assets they choose—cash, securities, tangible personal property and real estate. This interest led to a decade long development and marketing relationship with Conservation Foundation of the Gulf Coast, a regional land trust.

Some of her most rewarding accomplishments have been strengthening the governance, strategic planning and fundraising for non-profit organizations. She is an engaging speaker who has presented at Council on Foundations, Southeastern Council of Foundations, World Money Show and Wall Street Live on the power of philanthropy to communicate values and build connections across generations. She earned a BA from Smith College in Northampton, Massachusetts.

Marjorie is thrilled to be starting her second Season at The Sarasota Ballet building relationships with the people who love this art form. The ballet’s donors and sponsors are a reflection of the Company itself-diverse, engaged and committed. Individuals and families, some for generations, embrace the way this Company is enriching lives, captivating emotions and strengthening the community through the art of dance. The diverse repertoire of classical works, revivals of rarely performed ballets, and commissioned new works has attracted a following that reaches far beyond Sarasota. The people who truly invest in this mission, past and present, give much more than money; they also give their heart. Being fortunate enough to receive and recognize these gifts and to steward the legacies of those who revere the art form is an honor.

mfloyd@sarasotaballet.org | 941.225.6505

VISION TO INFUSE OUR COMMUNIT Y WITH THE HIGHEST QUALIT Y AND DIVERSIT Y OF DANCE IN AMERICA

MISSION WE ENRICH LIVES, CAPTIVATE EMOTIONS AND STRENGTHEN COMMUNIT Y THR OUGH THE AR T OF DANCE 18

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Constance M. Arledge Principal, Senior Vice President Chief Administrative Officer

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THE MOST EXTRAORDINARY DEBUT OF THE SEASON. FOR ALL THE SEASONS TO COME.

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Broker Participation is welcomed and encouraged. ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE SELLER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED

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LUMINARIES $100, 000 +

JEAN WEIDNER GOLDSTEIN In Loving Memory of Alfred Goldstein

SYDNEY AND JEROME GOLDSTEIN Great Masters of Dance

Metropolitan

ERNIE KRETZMER In Loving Memory of Alisa Kretzmer

JEAN WEILLER

Moving Identities

The Secret Garden

OUR SPECIAL ANGEL Dreams of Nature

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BENEFACTORS $75, 000 - $99, 999

MARK FAMIGLIO

PAT AND ANN KENNY

PAUL AND SHARON STEINWACHS

In Loving Memory of ROBERT AND JEANNE ZABELLE

The Secret Garden

Bugaku

Theme and Variations

John Ringling’s Circus Nutcracker

Donations recognized from 15 September 2016 through 10 October 2017

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Our Experience.

Your Expression.

From details filled with personality to signature pieces that are meaningful to you, your home should tell the story of your unique life and style.

Since 1997, our design professionals have shown commitment to integrating the best resources with our expertise to bring to life interior designs that homeowners are proud to call their own.

To schedule a consultation, call us at 941.952.9198.

Marcia Norris, Allied ASID | 941.952.9198 2480 Fruitville Road, Suite 12 | Sarasota, FL 34237 MKIDInteriorDesign.com Florida License: #IB26001265, #ID0002116

GUARDIANS $50, 000 - $74, 999

JULIE HARRIS Bugaku

BUD AND BETTY SHAPIRO Valsinhas

MERCEDITA OCONNOR

Marcelo Gomes’ World Premiere

HILLARY STEELE

‘Still Life’ at the Penguin Café

Donations recognized from 15 September 2016 through 10 October 2017

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CONNOISSEURS $ 2 5 ,0 0 0 - $ 4 9 , 9 9 9

MERCEDES T. BASS Charitable Corporation

ISABEL ANCHIN BECKER

MARY DONIKIAN

PATRICIA GOLEMME AND TIMOTHY FULLUM

Theme and Variations

Marguerite and Armand

Illuminations

MURRAY BRING AND KAY DELANEY BRING

Marcelo Gomes’ World Premiere

MICHAEL AND SHERRY GUTHRIE

The Secret Garden

CHARLES HUISKING Valsinhas

Donations recognized from 15 September 2016 through 10 October 2017

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Troy Game

CONNOISSEURS $25, 000 - $49, 999

BARBARA JACOB

ROBIN KLEIN-STRAUSS AND MICHAEL STRAUSS

Bugaku

PETER MILLER AND DR. MARTHA HARRISON

HARRY LEOPOLD AND AUDREY ROBBINS

The Secret Garden

Marcelo Gomes’ World Premiere

DR. BART PRICE

MICKI SELLMAN In Loving Memory of Jerry Sellman

Troy Game

Illuminations

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CONNOISSEURS $ 2 5 ,0 0 0 - $ 4 9 , 9 9 9

NOEL AND TOBY SIEGEL

JOSEPH AND JEAN VOLPE

MATT AND LISA WALSH

JARED WINTERS

SALLY YANOWITZ

ANONYMOUS

Theme and Variations

Illuminations

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The Dream

Airs

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The Dream

Airs

The Arts Your

take years of practice, focus, dedication, discipline and perseverance, coupled with skill and knowledge.

Financial Advisor should possess those same attributes.

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Ameriprise Financial and its representatives do not provide tax or legal advice.

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Ameriprise Financial Services, Inc. Member FINRA and SIPC ©2015 Ameriprise Financial, Inc., All rights reserved.

AFICIONADOS $15, 000 - $24, 999

FRED AND LYNDA DOERY ‘Still Life’ at the Penguin Café

FRANK AND KATHERINE MARTUCCI Marguerite and Armand

DONNA MAYTHAM In Loving Memory of Walter Maytham The Secret Garden

ELIZABETH MOORE

PETE AND MAGGIE ROTH

JUDY RUDGES

TOM AND MAUREEN STEINER

MARCIA JEAN TAUB AND PETER SWAIN

In Loving Memory of ETHEL AND RON TAUB

‘Still Life’ at the Penguin Café

The Dream

The Leaves are Fading

Illuminations

Bugaku

The Dream

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PATRONS $ 1 0 ,0 0 0 - $ 1 4 , 9 9 9

GERRI AARON

DAVID AND BETTY JEAN BAVAR

Troy Game

Airs

JUDY CAHN In Loving Memory of Charles Cahn The Leaves are Fading

FRANCES FERGUSSON AND JOHN BRADBURY

KAROL FOSS Valsinhas

Theme and Variations

RICHARD AND MARSHA JOHNSON Marguerite and Armand

Donations recognized from 15 September 2016 through 10 October 2017

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Marguerite and Armand

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PATRONS $10, 000 - $14, 999

DR. SIDNEY KATZ AND ELAINE KEATING

RICHARD AND HELEN MARCH

The Dream

WALDRON KRAEMER AND JOAN LOVELL

‘Still Life’ at the Penguin Café

PETER AND TERESA MASTERSON

JOAN MATHEWS

CLAUDIA MCCORKLE

John Ringling’s Circus Nutcracker

Marguerite and Armand

Airs

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PATRONS $ 1 0 ,0 0 0 - $ 1 4 , 9 9 9

Marcelo Gomes’ World Premiere

ROSE MARIE PROIETTI

Marcelo Gomes’ World Premiere

FLORI ROBERTS

MARILYN AND STEVE ROTHSCHILD

SKIP AND GAIL SACK

RICH AND CLARE SEGALL

THOMAS AND GWENDOLYN WATSON

Illuminations

‘Still Life’ at the Penguin Café

WILLIAM AND KAREN WATT

John Ringling’s Circus Nutcracker

Theme and Variations

In Loving Memory of CATHARINE WINGATE AND DON LEVINE

The Leaves are Fading

John Ringling’s Circus Nutcracker 34

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ABOVE EXPECTATIONS. BEYOND SHOES. Quality footwear in a wide range of hard-to-find widths and sizes.

One-on-one consultations and fittings with the experts.

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VOTED BEST LOCAL SHOE STORE! THANK YOU SARASOTA AND MANATEE!

DEVOTEES $ 5 ,0 0 0 - $ 9 , 9 9 9

GEORGE ALLISON AND ALAN WATKINS

ROBERT AND SARA ARTHUR

SHARI AND STEVE ASHMAN

ROBERT AND GINGER CANNON BAILEY

RUTH AND DAVID BELILES

WILLIAM AND BONNIE CHAPMAN

JONATHAN COLEMAN AND RICK KERBY

GEORGIA COURT

ROBERT AND GAIL DAVIES

LAURIE FITCH

HERMAN AND SHARON FRANKEL

RONALD AND MICKI H. GAMER

Donations recognized from 15 September 2016 through 10 October 2017

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DEVOTEES $5, 000 - $9, 999

ALISON GARDNER AND JAN SIROTA

ELLEN GOLDMAN

RENEE HAMAD

ARNOLD AND BETTE HOFFMAN

DALE HORWITZ In Loving Memory of Arlan Clayton

SEAN AND CARA KEENAN

VIVIAN KOUVANT

ANNE KLISURICH

RICHARD AND CORNELIA MATSON

BETTY MENELL

EUGENE NOBLE

DOROTHY O’BRIEN AND RICHARD ANTOINE

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DEVOTEES $ 5 ,0 0 0 - $ 9 , 9 9 9

JOHN AND BARBARA OVERSTREET

DALE RIETH In Loving Memory of June Rieth

BETTY SCHOENBAUM

LOIS STULBERG

CURT AND MELLISS SWENSON

ED TOWN AND STEVE RUBIN

ELEANOR WILSON WILLIAMS

RICHARD WIRES

MERRILL AND SHEILA WYNNE

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Celebrations.

Adventures.

Memories.

it continues to be our pleasure.

Philip Mancini & Michael Klauber Co-Proprietors

CONTRIBUTORS & SUPPORTERS $3,0 0 0 - $ 4 ,9 9 9

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$ 1, 0 0 0 - $ 2 , 9 9 9

CONTRIBUTORS $3,000 - $4,999 Peggy Allen and Steven Dixon Edward and Peg Breslow Michael and Marcia Corrigan Neil and Sandra DeFeo Nancy Gold Jorgen and Gudrun Graugaard Robert and Ineza Hart Thomas and Linda Klein Bart and Joan Levenson Marilynn Petrillo Diran and Virginia Tashian Blair and Fremajane Wolfson

SUPPORTERS $1,000 - $2,999 Ken and Peggy Abt Robert and Elaine Appel Lynne Armington and Joseph Kerata Carol Arscott Ruth Barker Dan and Lisa Barzel Everett and Shirley Behrendt William and Linda Berliner Donna and Jon Boscia

Barbara Brizdle Audrianna Broad James Brooks Jody Brott 40

Murray Brott Peter and Judy Carlin David and Edith Chaifetz James and Kim Cornetet David Degann Beverly Dennis Joseph and Marsha Dick Murray Duffin Douglas Endicott Lawrence and Carol English Bill and Barbara Epperson Eleanor Faber Marjorie A. Floyd Allie Freedman Kevin Fulcher and Kim Deme-Fulcher Wanda Garofalo Alfred and Anne Garrett Valerie Gill Roz Goldberg and Alan Bandler Sue Marquis Gordon Jane Gould and Stephen Fillo Jim and Harley Hanrahan Victor Hazen Nicolas Hemes Joe and Mary Kay Henson Peter and Bonnie Hurley

Dan Idzik and Kathleen Osborne Anne E. Jones Thomas and Alison Jones Robert Lawson 2017 - 2018 S E A S O N

Melvy Lewis Hal and Marlene Liberman Ride Snider Loshaek Phyllis and Saul Lowitt Gerry and Sheri Lublin Patricia and James Maguire Louis and Carolou Marquet John and Elenor Maxheim

Robert and Sharon McMillan Jennifer and Mario Messina Harvey and Phyllis Meyerhoff Carolyn Michel and Howard Millman

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Francis and Barbara Misantone Raymond and Maralyn Morrissey Gloria Moss Patrick and Kim Nettles Joan Nixon Edward and Ellen Oelsner, III Jane and Tom Oliver Virgina and Stuart Peltz Charles and Charlotte Perret Lisa and Larry Press Susan Rauch Mary Jo Reston Dennis Revicki and Mary Poe Marsha Roth Sharon Sager and Loring Swasey Diana and Matt Buchanan Gabriel and Valerie Schmergel Bert and Eleanor Schweigaard-Olsen Murray and Abby Sherry B. Aline Blanchard and Arthur Siciliano Carole Sisson Sally Smith Barbara Staton Mildred Stein Richard and Carol Toppel Sallie Tyler Beth Uffner Mildred Weissman Rachael and Donald Worthington Sora Yelin In loving memory of Cary F. Yelin Anonymous

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ADMIRERS & ENTHUSIASTS $500 - $999

ADMIRERS $500 - $999 Louis and Eleanor Altman Sumner and Irene Bagby Douglas Baker Gaele Barthold and Larry Weiss Shirley Berlin -Gilbert Patricia Corson and Martin Goldstein John Cuneo Laurel Cutler Trey Desenberg David Devan and Rachel McCausland Amy Drake Dorsey and Tim Dumas Patricia and John A. Dupps Leon and Marge Ellin Iris and Robert Fanger Donald Fosselman Jennifer Gemmeke Joanna and Jim Grace Eleanor Graves Richard Hayes and Peggy Lyman Hayes Allen and Stephanie Hochfelder Ann Jackson Dorothy Jacobson William and Elizabeth Johnston Marilyn Kayser Ronald and Joan Kluck Dale and Ferne Krothe Jean Langdon Dorothy Lawrence Henrietta Levins Tina and Rick Lieberman Bill and Annette Lloyd

Richard Macksek Henry and Ellen Mason Teddy and Sheba Matheu Bert and Joy Mayerhofer Mary McGrath Mary Jane McRae Marie Monsky Michael and Michelle Morris Marianne Murray Tony Natale Mr. and Mrs. Conrad Owens Lee and Jan Peakes Joe and Janis Peixoto Carol Phillips James and Christina Phillips Jana and Eric Putnal Alan Quinby and Susan Brainerd Robin Radin Susan L. Robinson Dr. and Mrs. Jack Rozance Stanley and Jo Rutstein William and Marjorie Sandy Alvin and Beverly Saxonberg Sally Schule Manny and Ileane Smith Jack and Susan Steenbarger Martin Strobel Ana Maria Suarez Tracy Tucker and Joel Howard Brigitte Von Kessel Katherine and Fred White Ann Williams David and Eloise Zeller Anonymous

ENTHUSIASTS $100 - $499 Cecile Adams Doris Amory Caroline Andrus Roland and Betty Anthone Bruce Ardinger Maryann Armour Jane Baisley Steven Ballew Marjory Barksdale

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Jocelyn Baskey Tom and Becky Bedford Richard Belle James and Lynette Bennett Margaret Biddinger Barbara Blackburn Barbara Blumfield Matthew Bowman Edward and Sheila Braun Carol Brock Richard and Pam Brown

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ENTHUSIASTS $ 1 0 0 - $4 9 9

ENTHUSIASTS CONTINUED $100 - $499 Kristine Bundrant Diana Cable Peter Calahan Alexander and Irene Cass Nancy Chiswick and Arthur Patterson Virginia Clark and Joyce Wells Agnes Coppin Rebekah and Andrew Costin Mariana Cotton Bill and Linda Cotter James Cowperthwait Robert and Linda Crootof Richard and Paulette Curry John and Mari Davies Kathleenn Denning Timothy DeSanto Michael Doery Miriam Edlin Bruce Ensinger Ronald and Sharon Erickson Laura Feder Sandy Fink Beverly Fisher John Floyd Carole Fox David and Carol Furer

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Deedee Fusco Frances Gaston Dimitar and Maria Georgiev Bert and Susan Giroux Eugenia Glasser Robert Glenn Rita and Paul Glosser Marilyn Goldman Elizabeth Green Lawrence and Susan Grescoviak Elaine Gustafson

2017 - 2018 S E A S O N

R. Bonnie Haber and Sven Mohr John and Nancy Harris Kathryn Harvey Christine Heider James Heslin John and Nina Hockenberry Marion Hoercher Jeanette Hyde Joseph and Jo Ann Iaria Millicent Jaekle Sandra Jennings-Cronsberg

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Susan Johnson Frank and Merrill Ann Kaegi, Jr. Edward and Lyn Kahn Gerald and Nancy Kaplan Richard Kiegler and Ruthann Sturtevant-Kiegler Bruce and Barbara Keltz John and Barbara Kerwin John and Elaine Kidd Marlene Kitchell Harriet Lane Richard Lananamann Jayne Lautenbach Nancy Lee Russell Lee Bruce Lehman Arthur and Marcella Levin Carol and Eugene Levin Howard and Susan Levin Scott and Jill Levine Ina Rae Levy Evie Lichter Anthony Liga and Joan Campo-Liga John Lindsey Jacqueline Lorusso Greda Maceikonis Margaret Maguire Donald and Judith Markstein James and Elaine McCormack Mary Alice McGovern Robert and Vicki McGriff Robert Metz Joan and Robert Meyer Paul Michaelson and Janet Weiswasser Michaelson

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ENTHUSIASTS $100 - $499

ENTHUSIASTS CONTINUED $100 - $499 Blossom Miller Bert and Betty Morris Karl and Ricky Newkirk Jon Newman Jon and Susan Newsome Barbara Nowosielska Mary Olha Virginia Page Betty Pelletz Bertha Person George and Betty Jean Peters Gerald and Sue Peterson Jacqueline Plumez John Polking Richard Prescott Sandra Rau George and Sally Rauch Kelley Rea Ted Rehl Judy Reich Ronald and Marci Rhodes Cheryl Richards Michael Ritter Nancy Cooper Robb Warren and Anne Roberts

Louise Roe Phillip Roseberry and Jennifer Meinert Sally Ross Mr. and Mrs. Saul Rubenstein Jack and Lenore Rubin Jeanne Ruddy

Charles and Sandra Russell Sidney and Marcia Rutberg Marilyn and Alan Sachs Phoebe Salten Paul and Anita Sarno Thomas Savage Lenore and Isadore Sborofsky Norma Schatz Molly Schechter Ann Schluederberg Barbara Schott Carol and Erwin Segal Marlene and Gary Seidel Philip and Karen Selwyn Susan Serling and David Kessler Linda Sheldon Jane Sheridan Sheila Rosenthal and Phil Silverstein Ira and Carole Singer Gail Snyder Jerry Soble In Loving Memory of Marilyn Soble Janet Stern Solomon Ann Spaulding Ken Starr Victoria Sterling Judith Stern James and Joan Stewart Lance Stubbs Michael and Marsha Svirsky

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Mary Swanton and Stanley Kozubek Joan Tatum Judith Taylor Jessica Teague Kathleen Teso Leiland and Chris Theriot Carol Tillotson Janet Tolbert Anthony and Mary Lou Tosques Stanley Vickers Anita Volpe Carolyn Warren David and Edris Weis Arthur and Rita Wessan Kim Wheeler Florence White Edgard and Anne Wiklund Florence Wildner Paula Willcox Donald and Patricia Wilson Susan Tomlinson-Wilson Kenneth Winter Idelle Wolf Elizabeth Wolfe June Wolfe Bradford Woodall Jane Woods Anonymous

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FOUNDATION PARTNERS W O R K I N G W I T H T H E S A R A S OTA B A L L E T

MURIEL O’NEIL FUND AT THE COMMUNITY FOUNDATION OF SARASOTA COUNTY

JEROME ROBBINS FOUNDATION

CHARLES HENRY LEACH II FUND

ANNETTE J. HAGENS MEMORIAL FOUNDATION

ROBERTA LEVENTHAL SUDAKOFF FOUNDATION

FAY A. SCHWEIM MEMORIAL CHILDREN’S DANCE FUND

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FAMILY FOUNDATION PARTNERS W O R K I N G W I T H T H E S A R A S OTA B A L L E T

ALFRED AND ANN GOLDSTEIN FOUNDATION

DONALD H. & BARBARA K. BERNSTEIN FAMILY FOUNDATION

DORIS M. CARTER FAMILY FOUNDATION

THE LEDA FREEDMAN FUND

GERALD AND DEBORAH HAMBURG FAMILY FOUNDATION

ROCKLER JACKSON FAMILY FOUNDATION

THE JELKS FAMILY FOUNDATION

JOHN G. AND ANNA MARIA TROIANO FOUNDATION

THE ROSKAMP FOUNDATION

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CORPORATE PARTNERS W O R K I N G W I T H T H E S A R A S OTA B A L L E T

Innovative Dining Jeremy Hammond-Chambers

Mattison’s Paul Mattison

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CORPORATE PARTNERS W O R K I N G W I T H T H E S A R A S OTA B A L L E T

Michael’s on East Michael Klauber and Phil Mancini

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ORGANIZATIONAL PARTNERS W O R K I N G W I T H T H E S A R A S OTA B A L L E T

EPISCOPAL THRIFT HOUSE, WOMEN’S OUTREACH MINISTRY

HUNGARIAN AMERICAN CULTURAL ASSOCIATION

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FLORIDA SUNCOAST CHAPTER OF SOCIETY, INC.

ORGANIZATIONAL PARTNERS W O R K I N G W I T H T H E S A R A S OTA B A L L E T

ALUMNAE ASSOCIATION

LONGBOAT KEY EDUCATION CENTER, INC. National Endowment for the Arts

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MEDIA PARTNERS W O R K I N G W I T H T H E S A R A S OTA B A L L E T

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beautiful

confidence is

Call today for a private consultation.

J. David Holcomb, M.D.

Joshua Kreithen, M.D.

DOUBLE BOARD CERTIFIED FACIAL PLASTIC SURGEON Facial Plastic and Cosmetic Laser Surgery

BOARD CERTIFIED PLASTIC SURGEON Plastic Surgery of the Breast and Body

941.365.8679 www.sarasota-med.com Facial Plastic Surgery | Facial Rejuvenation | Breast and Body Surgery | Nonsurgical Body Contouring | Injectables | Hair Restoration

2017 J. David Holcomb, MD

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THE LEGACY SOCIETY We have seen firsthand the power of a legacy and how this type of support can change an organization for generations.

This Season The Sarasota Ballet will perform for the first time Sir Frederick Ashton’s The Dream, considered one of his greatest works. Originally created on Sir Anthony Dowell and Dame Antoinette Sibley, the ballet is a striking example of Ashton’s choreographic genius, and as Ballet Historian David Vaughan wrote “another of the great ballets of his maturity on the subject of human nature.”

We are particularly privileged to have Sir Anthony Dowell with us this Season, working with our dancers and passing on not just his artistry and experience, but also entwining the legacies of Ashton with our Company and dancers.

We are honored to have been entrusted by many to safeguard their legacies and ensure that, like Sir Frederick Ashton, their legacies will continue to burn brightly.

If you are interested in becoming a member of The Sarasota Ballet’s Legacy Society, please contact Marjorie A. Floyd, Marketing and Development Director. 941.225.6504

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THE LEGACY SOCIETY

George Allison and Alan Watkins

Jerry and Gay Bowles

Murray Bring and Kay Delaney Bring

Donald Britt

Ann Burroughs

Judy Cahn

Lynn Chancer

Edward Cooke

Douglas Endicott

Ann Fenton

Ellen Goldman

Jorgen and Gudrun Graugaard

Richard Kemmler

Pat and Ann Kenny

Lydia Landa

Julia Laning

Harry Leopold and Audrey Robbins

Richard and Helen March

Joan Mathews

Peter Miller and Dr. Martha Harrison

Sandra Miranda

Mary Jo Reston

Terry and Susan Romine

Will A. Ryall

Bert and Eleanor Schweigaard-Olsen

Micki Sellman

Bud and Betty Shapiro

B. Aline Blanchard and Arthur Siciliano

Hillary Steele

Marcia Jean Taub

Kim Wheeler

In Loving Memory of Florence White

Anonymous

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Jonathan Coleman

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WAYS TO GIVE PHILANTHROPY

GENEROSIT Y

A LT R U I S M

INVEST IN SOMETHING SPECIAL

BY PHONE To make a donation using your credit card, contact Marjorie A. Floyd, Marketing & Development Director, at 941.225.6504.

BY MAIL Send a check made payable to The Sarasota Ballet.

The Sarasota Ballet 5555 North Tamiami Trail Attention: Marjorie A. Floyd Sarasota, FL 34243

GIFTS OF STOCK OR EQUITIES Your contribution of stock is tax deductible at its fair market value at the time it is donated, whether the value has decreased or increased. The following are the instructions needed to transfer stock to our account: Account Name: Account Number: DTC: Tax ID: Custodial Bank: Attn: Questions:

Sarasota Ballet of Florida General Account 57-4735-00 #2803 #65-0135900 US Bank Christopher “Lee” Stewart 513.632.4194 | christopher.stewart3@usbank.com

Important: Because electronic transfers are made without identifying the donor, please contact us in advance about the number of shares that will be given. You can email or phone Marjorie A. Floyd at mfloyd@sarasotaballet.org or 941.225.6504.

MATCHING GIFTS If your firm or company offers a matching gift program, you are credited with the entire contribution. Many companies even match gifts made by board members or retirees.

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WAYS TO GIVE PHILANTHROPY

GENEROSIT Y

A LT R U I S M

INVEST IN SOMETHING SPECIAL

CONSIDER A LEGACY GIFT Naming The Sarasota Ballet in your will or living trust allows you to provide for the future of The Sarasota Ballet while maintaining control of your current assets. You can choose a dollar amount or percentage of your estate, or include The Sarasota Ballet as a contingent beneficiary. For wording, contact Marjorie A. Floyd, Marketing and Development Director.

CHARITABLE IRA ROLLOVER The IRA Charitable Rollover provision allows individuals who have reached age 70½ to donate up to $100,000 to charitable organizations directly from their Individual Retirement Account (IRA), without treating the distribution as taxable income.

PLANNED GIVING There are many ways to include The Sarasota Ballet in your estate planning. We can help with your personal philanthropic goals. To discuss Planned Giving, contact Marjorie A. Floyd, Marketing and Development Director.

Marjorie A. Floyd

Marketing & Development Director mfloyd@sarasotaballet.org 941.225.6504

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YOUR BRIDGE TO FINANCIAL SECURITY Whether the financial future you envisioned is here, close at hand or still in the distance, we can create a plan that gets you there safely and enhances your life.

If we sound a little different, it’s because we are.

• Strong, lasting client-advisor relationships • Fiduciary duty ensures clients’ interests come first • Conservative, proven investment philosophy

• No commissions received and no products sold • Exceptional accessibility, communication and transparency • Fee contingent on complete client satisfaction

Contact us today to take the next step into your financial future.

John Leeming, CFP® Senior Vice President (941) 296-7217 jleeming@jlbainbridge.com

J.L. BAINBRIDGE & COMPANY, INC.

It should neither be assumed that future results will be as profitable nor that a loss could not be incurred.

1582 Main Street, Sarasota, FL 34236

(941) 365-3435 | www.JLBainbridge.com

A PROUD SPONSOR OF THE SARASOTA BALLET

SA AND NAIONA

AWARDS FOR PUBLISHING EXCELLENCE

WINNERS OF 18 STATE AND NATIONAL AWARDS FOR WRITING, DESIGN AND PHOTOGRAPHY FOR 2016 AND 2017, INCLUDING BEST OVERALL MAGAZINE FROM THE FLORIDA MAGAZINE ASSOCIATION. FIRST PLACE WINNER OF CITY AND REGIONAL MAGAZINE ASSOCIATION’S 2017 GENERAL EXCELLENCE AWARD.

DONOR BENEFITS 2017 - 2018 S E A S O N

Luminary $100,000+

Invitation to Dinner with Director Iain Webb and Assistant Director Margaret Barbieri at Their Home, Invitation to Annual Back to Season Brunch, Invitation to Annual Dinner of Excellence, Production Underwriter Recognition, Signed Season Program Book, Invitation to In Studio Rehearsal, Tickets to After Performance Parties with Company, Photo in Season Program Book, Concierge Ticket Service

Benefactor $75,000 - $99,999

Invitation to Dinner with Director Iain Webb and Assistant Director Margaret Barbieri, Invitation to Annual Back to Season Brunch, Invitation to Annual Dinner of Excellence, Production Underwriter Recognition, Signed Season Program Book, Invitation to In Studio Rehearsal, Tickets to After Performance Parties with Company, Photo in Season Program Book, Concierge Ticket Service

Guardian $50,000 - $74,999

Invitation to Dinner with Director Iain Webb, Invitation to Annual Back to Season Brunch, Invitation to Annual Dinner of Excellence, Production Underwriter Recognition, Signed Season Program Book, Invitation to In Studio Rehearsal, Tickets to After Performance Parties with Company, Photo in Season Program Book, Concierge Ticket Service

Connoisseur $25,000 - $49,999

Invitation to Dinner with Ballet Board Chair and Special Guest, Invitation to Annual Back to Season Brunch, Invitation to Annual Dinner of Excellence, Production Underwriter Recognition, Signed Season Program Book, Invitation to In Studio Rehearsal, Tickets to After Performance Parties with Company, Photo in Season Program Book, Concierge Ticket Service

Aficionado $15,000 - $24,999

Invitation to Annual Back to Season Brunch, Invitation to Annual Dinner of Excellence, Production Underwriter Recognition, Signed Season Program Book, Invitation to In Studio Rehearsal, Tickets to After Performance Parties with Company, Photo in Season Program Book, Concierge Ticket Service

Patron $10,000 - $14,999

Invitation to Annual Dinner of Excellence, Production Underwriter Recognition, Signed Season Program Book, Invitation to In Studio Rehearsal, Tickets to After Performance Parties with Company, Photo in Season Program Book, Concierge Ticket Service

Devotee $5,000 - $9,999

Tickets to After Performance Parties with Company, Photo in Season Program Book, Concierge Ticket Service, Invitation to Annual Appreciation Lunch, Invitation to Watch Company Class

Contributor $3,000 - $4,999

Invitation to Annual Appreciation Lunch, Invitation to Watch Company Class, Name Listed in Season Program Book

Supporter $1,000 - $2,999

Invitation to Watch Company Class, Name Listed in Season Program Book

Admirer $500 - $999

Name Listed in Season Program Book

Enthusiast $100 - $499

Name Listed in Season Program Book

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Your partners in the arts

1st Source Bank Wealth Advisory Services is pleased to sponsor the Sarasota Ballet. We are proud to continue our tradition of investing in the arts and the human spirit.

Our Sarasota, Florida office allows us to administer trusts and estates for Florida residents and snowbirds.

Wealth Advisory Services Cyndi Miller, Vice President, Private Banker 1800 Second Street, Suite 712 941 554-2605 • 1stsource.com Investment accounts are not insured by the FDIC or any Federal Government Agency, are not a deposit, have no bank guarantee and may lose value.

+ ENTERTAINMENT source XNLV14239

Your ARTS

BIOGRAPHIES

IAIN WEBB D I R E C TO R

Born in Yorkshire, England, Iain Webb started ballet at 14 and moved to London at 16, where he trained for two years with The Rambert School of Ballet and a year at The Royal Ballet School. He further spent a year as an apprentice with The Sadler’s Wells Royal Ballet, where he was offered a full-time position. His main principal repertoire included Ashton’s The Dream (Oberon), The Two Pigeons (Young Man), La Fille mal Gardée (Colas and Alain); Bintley’s The Snow Queen (Kay); Fokine’s Les Sylphides (Poet), Petrushka (Petrushka); Balanchine’s Prodigal Son (The Son), Cranko’s Card Game, Lady and the Fool, Taming of The Shrew; Nureyev’s Raymonda; Massine’s La Boutique Fantasque; van Manen’s Five Tangos; and Wright’s productions of Coppélia (Franz), The Sleeping Beauty (Blue Bird), Swan Lake (Prince and Benno).

In 1989 Webb transferred to The Royal Ballet, Covent Garden, to perform character roles that included Ashton’s The Dream (Bottom), Cinderella (The Small Sister, Dancing Master and Napoleon), Tales of Beatrix Potter (Mrs. TiggyWinkle and Pigling Bland); Baryshnikov’s production of Don Quixote (Sancho Panza); and MacMillan’s Different Drummer (The Doctor), Manon (The Client). During this time he was a board member of Sir Matthew Bourne’s “Adventures in Motion Pictures.” In 1996 Webb retired from The Royal Ballet, but was invited back as a guest artist to give three farewell performances at Covent Garden as The Small Sister in Ashton’s Cinderella. After retiring as a dancer, he was invited by Sir Matthew Bourne to be Rehearsal Director for The West End, L.A. and Broadway seasons of Swan Lake and continued to work with Bourne on his production of Cinderella.

In 1999 Webb was asked by Tetsuya Kumakawa to join his newly formed K-Ballet Company in Japan as Ballet Master and two years later was appointed Assistant Director. During this time, he worked with Kumakawa on building the company into one of Japan’s leading ballet companies and the only company to tour extensively throughout Japan as well as New York and Shanghai. Webb also worked with many international stars, including Adam Cooper, with whom he co-directed The Adam Cooper Company and organized its tour to The Kennedy Center.

Likewise, he co-produced with Johan Kobborg the London performances of Out of Denmark and staged Roland Petit’s Carmen Pas de Deux for Alessandra Ferri and Julio Bocca for American Ballet Theatre’s 65th Anniversary Gala.

Throughout Webb’s career he has produced and directed many international performances, presenting dancers from The Royal Danish Ballet, Paris Opera Ballet, New York City Ballet and Stuttgart Ballet, to name a few. He has been a guest teacher for White Oak Dance Project, Birmingham Royal Ballet and Rambert Dance Company, as well as teaching master classes and workshops for all the major ballet schools in England. In 2013 he became an Ashton Associate for the Sir Frederick Ashton Foundation.

In July 2007 Webb took over the directorship of The Sarasota Ballet and under his leadership the Company will have performed 146 ballets and divertissements by the end of the 2017 - 2018 Season, including 38 world premieres and 7 American premieres. These include ballets

by Ashton, Balanchine, Bourne, Cranko, de Valois, MacMillan, Tharp, Tuckett, Tudor, van Manen and Wheeldon.

In 2011 The Sarasota Ballet performed George Balanchine’s Diamonds at The Kennedy Center in Washington, D.C., with The Suzanne Farrell Ballet. In 2013 The Company was invited back, this time to perform Sir Frederick Ashton’s Les Patineurs for Ballet Across America III. In 2014 Webb and Assistant Director Margaret Barbieri organized The Sir Frederick Ashton Festival, commemorating the 25th anniversary of Ashton’s passing. The Festival garnered national and international acclaim for its dedication in preserving and presenting the choreographic legacy of Sir Frederick Ashton. As a result, the Company was invited to perform at the 2014 Fall for Dance Festival at the New York City Center, marking The Sarasota Ballet’s first appearance in New York City. In August 2015 The Sarasota Ballet performed to critical acclaim at the Jacob’s Pillow Dance Festival in Becket, Massachusetts. The 2016 - 2017 Season marked Webb’s 10th Season as Director of The Sarasota Ballet and began with a week-long residency at New York’s Joyce Theater, followed by two performances at the 1932 Criterion Theatre in Bar Harbor, Maine. In recognition of his outstanding achievements in building the artistic reputation and stability of The Sarasota Ballet, the Board of Directors engaged Iain Webb for an additional ten years as Director.

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BIOGRAPHIES

JOSEPH VOLPE E X E C U T I V E D I R E C TO R

Joseph Volpe, retired General Manager of The Metropolitan Opera and theater and management consultant, was appointed Executive Director of The Sarasota Ballet in February 2016. Volpe first joined the Board of The Sarasota Ballet in 2014 after a long history in the world of the performing arts. He spent 42 years working at The Metropolitan Opera rising from apprentice carpenter to General Manager from 1990 to 2006. In that role Volpe expanded the length of The Met repertory season as well as the number of new productions. There were 4 world premieres, 22 Met premieres, 4 commissions and expanded international touring activities. His term was characterized by sound fiscal management, fresh customer service initiatives and no contract disputes for over three decades of his leadership in contract negotiations.

He conceived and developed “Met Titles,” an innovative titling system providing multilingual translations of the operas on the backs of each seat, visible only to the individual audience member who wished to utilize them, and initiated the development of Tessitura, a management software program for targeted marketing and fundraising appeals, which is now licensed to more than 200 companies worldwide.

In 1998, Volpe instituted an education outreach project for young children in cooperation with the City of New York Department of Education emphasizing direct experience with music and opera for students. He also established a partnership with the University of Connecticut that provides students from music and drama departments with behind-the-scenes access to the creative and technical processes that bring the opera to life on The Met stage.

Volpe retired from The Met in July of 2006, leaving the company with a strong administration, an endowment fund that had increased from $100 million to $345 million and exceptional artistic plans for the future. Since that time, Volpe consulted for two years with Giuliani Partners. Currently, he consults with Theatre Projects Consultants providing comprehensive advice from project conception and design to daily operations and fiscal management. Volpe helps major arts organizations and universities as they plan a move into new facilities or address the reorganization and renovation of existing ones. He also serves as a Senior Consultant for Hudson Scenic Studios advising on all aspects of management, labor negotiation and strategic planning and heads The Volpe Group, Ltd, his own theater and management consulting firm.

Volpe taught a course entitled “Managing in the Performing Arts” for five years at New York University’s Stern School of Business. He has been a guest lecturer at Columbia University, the University of Pennsylvania’s Wharton School of Business, Georgetown, SUNY Purchase, Harvard and Oxford University. He has received honorary degrees from numerous universities, including Georgetown University, Fordham University and Hamilton College.

Volpe is the author of The Toughest Show on Earth, My Rise and Reign at The Metropolitan Opera, published by Random House in 2006.

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BIOGRAPHIES

MARGARET BARBIERI A S S I S TA N T D I R E C TO R

Born in South Africa of Italian parents, Margaret Barbieri moved to England to study at The Royal Ballet School. In 1965 she joined The Royal Ballet Touring Company (now Birmingham Royal Ballet), and became a Principal Dancer in 1970. During a highly successful 25-year dancing career, she danced most of the leading roles in the classical repertoire (including The Sleeping Beauty, Swan Lake, Coppélia, Romeo and Juliet, La Fille mal Gardée, Taming of the Shrew, The Two Pigeons and The Dream), although it was her major impact in the title role of Giselle at the age of 21 that first established her special reputation as a Romantic Ballerina. In 1973 she was invited to dance Giselle at the Deutsche Oper in Berlin and received high praise from the press and audience alike, a triumph which she repeated in 1974 when she returned to her native South Africa to dance the role in Durban. She replaced an indisposed Natalia Makarova at short notice in the same role for Norwegian National Ballet and made many guest appearances with companies internationally in Giselle, Swan Lake, Coppélia and Cinderella.

Barbieri worked closely with most of the great masters of the 20th Century, including Sir Frederick Ashton, Sir Kenneth MacMillan, Dame Ninette de Valois, John Cranko, Antony Tudor, Rudolf Nureyev and Hans van Manen, and roles were created on her by Ashton, Sir Peter Wright, Tudor, David Bintley, Michael Corder, Ronald Hynd and Joe Layton. Many of her best-known roles were televised, including Swanhilda (Coppélia), Black Queen (Checkmate), The Mother (Bintley’s Metamorphosis), Young Girl (Spectre de la Rose) and van Manen’s Grosse Fuge. With David Ashmole, she was featured in BBC TV’s Ballet Masterclass series, given by Dame Alicia Markova, who later coached her in Fokine’s The Dying Swan and Pavlova’s The Dragonfly.

Barbieri retired from The Royal Ballet in 1990 to become Director of the new Classical Graduate Programme at London Studio Centre and Artistic Director of the annual touring company, Images of Dance, and she was instrumental in devising the Classical Ballet Course for the BA Honours degree. Here she gave Christopher Wheeldon his first professional commission and Sir Matthew Bourne his first classical ballet commission. She also found time to teach at Birmingham Royal Ballet Company and the English National and Royal Ballet Schools, serving on The Royal Ballet’s Board of Governors from 1994-2000 and participating as an External Assessor for the Arts Council of England from 1995-2001.

Her staging credits include Swan Lake Act II, The Fantasy Garden from Le Corsaire and Kingdom of the Shades from La Bayadère for Images of Dance Company; Nureyev’s production of Raymonda Act III for K-Ballet in Japan; Ashton’s Façade for Scottish Ballet, K-Ballet and Oregon Ballet Theatre; and The Two Pigeons for K-Ballet and State Ballet Theatre of Georgia. During the last 10 years she has staged for The Sarasota Ballet Wright’s production of Giselle; Ashton’s The Two Pigeons, Façade, Birthday Offering, Les Patineurs, Les Rendezvous, La Fille mal Gardée, Valses nobles et sentimentales and Jazz Calendar; de Valois’ The Rake’s Progress and Checkmate; Cranko’s Pineapple Poll; Wheeldon’s There Where She Loves and The American; Darrell’s Othello; Bourne’s Boutique; Bintley’s Scottish Dances; Layton’s The Grand Tour; Fokine’s Les Sylphides and Petrushka; Nureyev’s Raymonda Act III and Samsova’s production of Paquita.

Barbieri has adjudicated at many international ballet competitions and performed all over the world during her on stage career. In April 2010, she was awarded Distinction by the University of the Arts, London, for her Post Graduate Certificate in Teaching and Learning. In 2013 she was invited to speak at the Ashton Symposium in London and became an Ashton Associate for the Sir Frederick Ashton Foundation.

Barbieri was appointed Assistant Director of The Sarasota Ballet in August 2012.

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BIOGRAPHIES

RICARDO GRAZIANO |

Resident Choreographer

In 2011 Ricardo Graziano was given the opportunity by Iain Webb to choreograph his first ballet, and since then, choreography has become one of his passions.

Shostakovich Suite, which premiered in October 2011, was his first professional creation. Following this ballet, Graziano choreographed four new ballets before being appointed Resident Choreographer by Iain Webb onstage in 2014 after a performance of Symphony of Sorrows. Quoting Dame Ninette de Valois’ comment to Roland Petit, Webb declared, “You are a real choreographer, my boy.” Since then he has choreographed three more works for the Company, including In a State of Weightlessness, which premiered 12 August 2015, as a part of The Sarasota Ballet’s first week-long residency at the Jacob’s Pillow Dance Festival.

His other works for The Sarasota Ballet include Symphony of Sorrows for the April 2012 Theatre of Dreams production, Pomp and Circumstance for The Sarasota Ballet’s 2013 Gala, Valsinhas for the May 2013 Theatre of Dreams production, Before Night Falls in February 2014, En las Calles de Murcia in March 2015. The Sarasota Ballet’s performance of Graziano’s Sonata in Four Movements premiered 19 August 2016 at the 1932 Criterion Theatre in Bar Harbor, Maine, to mark the National Park Service Centennial. Graziano is also a Principal Dancer with The Sarasota Ballet.

JAMES JORDAN |

Ballet Master & Repetiteur

Hailing from Staunton, Virginia, James Jordan began his formal dance training at Richmond Ballet while at VCU. Ballet scholarships took him to North Carolina School of the Arts until recruited by Todd Bolender for his first company of dancers in Kansas City. While Principal Dancer with Kansas City Ballet, Jordan also performed with Santa Fe Opera, Santa Fe Dance Company and in the New York area before accepting a Press Relations position with PBS television.

He returned to Kansas City in 1991 as ballet master and began work with the Antony Tudor Ballet Trust under the leadership of Sally Bliss, learning Gala Performance and other Tudor masterworks staged by Airi Hynninen or Donald Mahler nationwide. As Trust Repetiteur, Jordan staged works for San Francisco Ballet, Milwaukee Ballet, Tulsa Ballet Theatre, Kansas City Ballet and The Sarasota Ballet. In 2000 he received a BFA in Dance from the University of Missouri – Kansas City Conservatory. He taught and staged works for UMKC, Washington University-St. Louis and Kansas City Ballet School. After Bolender’s 2006 passing, Jordan was named Artistic Trustee for all Bolender ballets, and in July 2014, was appointed Ballet Master for The Sarasota Ballet, where he also teaches for The Margaret Barbieri Conservatory.

PAVEL FOMIN |

Ballet Master

Pavel Fomin was born in the Ukraine and received his ballet training at the Odessa Ballet School and the Kirov Ballet in Leningrad under the guidance of Alexander Pushkin and Semyon Kaplan. From 1964-1990 he was a Principal Dancer with the State Academic Opera and Ballet House in Odessa City and danced the entire classical repertoire, including Basilio in Don Quixote, Albrecht in Giselle and Prince Désiré in The Sleeping Beauty. While still performing, Fomin rose quickly to the position of Principal Ballet Master and Artistic Director at the Odessa State Academy of Opera and Ballet.

In 1990 Fomin graduated with honors from The Russian Academy of Theater Arts with an MA in Pedagogy of Classical Ballet. Fomin has worked with choreographers of the stature of Leonid Lavrovsky, Oleg Vinogradov and Igor Tchernichov.

He received the title of Honored Artist of the Ukraine in 1971.

Since joining The Sarasota Ballet in 1991 as Ballet Master, Fomin has staged many ballets and pas de deux on the Company as well as teaching Dance – The Next Generation students for many years. Currently Mr. Fomin works with the Company and The Margaret Barbieri Conservatory.

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PRINCIPALS

T H E S A R A S OTA B A L L E T CO M PA N Y M E M B E R S

DANIELLE BROWN Joined The Sarasota Ballet in 2007 Promoted to Soloist in 2009 and Principal in 2010 Lead and Featured Roles include: Ashton’s Marguerite and Armand, Jazz Calendar, Symphonic Variations, Birthday Offering, La Fille mal Gardée, Scènes de ballet, The Walk to the Paradise Garden, Valses nobles et sentimentales; Balanchine’s Stars and Stripes, Emeralds, Diamonds, Prodigal Son, Serenade, The Four Temperaments; de Valois’ Checkmate, The Rake’s Progress; Fokine’s Les Sylphides; Graziano’s In a State of Weightlessness; MacMillan’s Concerto; Nureyev’s Raymonda Act III; Robbins’ Fancy Free; Tharp’s In the Upper Room, Nine Sinatra Songs; Tuckett’s Lux Aeterna; Wheeldon’s The American, There Where She Loves; Wright’s Summertide.

RICARDO GRAZIANO Joined The Sarasota Ballet in 2010 Promoted to Principal in 2011 Lead and Featured Roles include: Ashton’s Marguerite and Armand, Enigma Variations, Jazz Calendar, The Walk to the Paradise Garden, La Fille mal Gardée, Symphonic Variations, Illuminations, Birthday Offering, Monotones II; Balanchine’s Stars and Stripes, Emeralds, Diamonds, Prodigal Son, Donizetti Variations, Who Cares?; de Mille’s Rodeo; de Valois’ The Rake’s Progress; Fokine’s Les Sylphides; Nijinsky’s L’Après-midi d’un Faune; Nureyev’s Raymonda Act III; Possokhov’s Firebird; Tharp’s In the Upper Room, Nine Sinatra Songs; Tuckett’s Changing Light, Lux Aeterna; Tudor’s Lilac Garden; Wheeldon’s The American, There Where She Loves; Wright’s Summertide.

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PRINCIPALS

T H E S A R A S OTA B A L L E T CO M PA N Y M E M B E R S

KATE HONEA Joined The Sarasota Ballet in 2001 Promoted to Soloist in 2006 and Principal in 2009 Lead and Featured Roles include: Ashton’s La Fille mal Gardée, Les Patineurs, Les Rendezvous, La chatte métamorphosée en femme, The Two Pigeons, Jazz Calendar; Balanchine’s Apollo, Rubies, Serenade, The Four Temperaments, Valse-Fantaisie, Who Cares?; Bruce’s Sergeant Early’s Dream; Flindt’s The Lesson; Fokine’s Les Sylphides, Petrushka; Graziano’s Symphony of Sorrows; Kobborg’s Salute; MacMillan’s Elite Syncopations; Prokovsky’s Anna Karenina; Samsova’s Paquita; Taylor’s Company B; Tuckett’s Changing Light; Tudor’s Gala Performance; Wheeldon’s The American, There Where She Loves; Wright’s Summertide.

VICTORIA HULLAND Joined The Sarasota Ballet in 2007 Promoted to Coryphée in 2008 and Principal in 2009 Lead and Featured Roles include: Ashton’s Marguerite and Armand, Enigma Variations, A Wedding Bouquet, The Two Pigeons, Symphonic Variations, Les Patineurs, Birthday Offering, Monotones II; Balanchine’s Stars and Stripes, Apollo, Emeralds, Rubies, Serenade, The Four Temperaments; Bourne’s Boutique; de Valois’ The Rake’s Progress; Fokine’s Les Sylphides, Petrushka; Graziano’s Before Night Falls; MacMillan’s Concerto; Pavlova’s The Dragonfly solo; Nureyev’s Raymonda Act III; Tharp’s In the Upper Room; Tuckett’s Changing Light; Tudor’s Lilac Garden, Gala Performance; Wheeldon’s The American; Wright’s Giselle.

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PRINCIPALS

T H E S A R A S OTA B A L L E T CO M PA N Y M E M B E R S

LOGAN LEARNED Joined The Sarasota Ballet in 2008 Promoted to Soloist in 2009 and Principal in 2012 Lead and Featured Roles include: Ashton’s Enigma Variations, Les Patineurs, Les Rendezvous, La Fille mal Gardée, The Two Pigeons, Tweedledum and Tweedledee; Balanchine’s Stars and Stripes, Prodigal Son, Rubies, The Four Temperaments, Tarantella; Bruce’s Sergeant Early’s Dream; Cranko’s Pineapple Poll; Darrell’s Othello; de Mille’s Rodeo; Fokine’s Petrushka; MacMillan’s Concerto; Nureyev’s Raymonda Act III; Petipa’s Bronze Idol from La Bayadère; Possokhov’s Firebird; Robbins’ Fancy Free; Taylor’s Company B; Tharp’s In the Upper Room, Nine Sinatra Songs; Tuckett’s Changing Light; Wheeldon’s There Where She Loves.

ELLEN OVERSTREET Joined The Sarasota Ballet in 2012 Promoted to Junior Principal in 2015 and Principal in 2016 Lead and Featured Roles include: Ashton’s Enigma Variations, A Wedding Bouquet, Symphonic Variations, Les Patineurs, Birthday Offering, Sinfonietta, Illuminations, Jazz Calendar, Scènes de ballet; Balanchine’s Apollo, Serenade, Emeralds, Diamonds, The Four Temperaments; de Mille’s Rodeo; Fokine’s Les Sylphides; Graziano’s Shostakovich Suite, En las Calles de Murcia, In a State of Weightlessness; MacMillan’s Concerto; Nijinsky’s L’après-midi d’un Faune; Robbins’ Fancy Free; Tuckett’s Lux Aeterna, The Secret Garden, Changing Light; Tudor’s Lilac Garden, Continuo; Walsh’s Wolfgang for Webb; Wheeldon’s The American.

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PRINCIPALS

T H E S A R A S OTA B A L L E T CO M PA N Y M E M B E R S

RICARDO RHODES Joined The Sarasota Ballet in 2007 Promoted to Soloist in 2010 and Principal in 2012 Lead and Featured Roles include: Ashton’s Jazz Calendar, La Fille mal Gardée, Symphonic Variations, Les Rendezvous, Birthday Offering, Sinfonietta, Scènes de ballet, Monotones II; Balanchine’s Stars and Stripes, Apollo, Emeralds, Rubies, Diamonds, Serenade, Who Cares?; Bruce’s Sergeant Early’s Dream; Darrell’s Othello; de Valois’ Checkmate; Fokine’s Les Sylphides; Graziano’s Valsinhas; Kobborg’s Salute; MacMillan’s Concerto; Nijinsky’s L’Après-midi d’un Faune; North’s Troy Game; Robbins’ Fancy Free; Tuckett’s Spielende Kinder, Changing Light; Wheeldon’s The American, There Where She Loves; Wright’s Summertide.

C H A R A C T E R P R I N C I PA L

RICKI BERTONI Joined The Sarasota Ballet in 2007 Promoted to Character Principal in 2014 Lead and Featured Roles include: Ashton’s A Wedding Bouquet, Enigma Variations, La Fille mal Gardée, Façade, Jazz Calendar; Balanchine’s Stars and Stripes, Prodigal Son, Who Cares?; Bruce’s Sergeant Early’s Dream; de Mille’s Rodeo; de Valois’ Checkmate, The Rake’s Progress; Flindt’s The Lesson; Fokine’s Petrushka; Graziano’s Symphony of Sorrows, Before Night Falls, En las Calles de Murcia; Layton’s The Grand Tour; North’s Troy Game; Taylor’s Company B; Tuckett’s Changing Light, The Secret Garden; Wheeldon’s The American; Wright’s Giselle.

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JUNIOR PRINCIPALS T H E S A R A S OTA B A L L E T CO M PA N Y M E M B E R S

LUCAS ERNI Joined The Sarasota Ballet in 2017 Previous Company | National Ballet of Uruguay Featured Roles with National Ballet of Uruguay included: Balanchine’s Raymonda Variations (Principal Role); Haydée’s Carmen (Don Jose), Swan Lake (Prince Siegfried, Benno, Jester), Kylian’s Petite Mort, Sinfonietta; MacMillan’s Romeo and Juliet (Romeo, Benvolio, Lead Mandolin); Makarova’s La Bayadère (Bronze Idol, Lead Fakir); Productions - Coppélia (Franz), Giselle (Peasant Pas de Deux), Don Quixote (Basilio).

Finalist at The Prix de Lausanne, 2013

KATELYN MAY Joined The Sarasota Ballet in 2017 Previous Company | Houston Ballet Featured Roles with Houston Ballet included: Ashton’s Les Patineurs; Balanchine’s Ballo della Regina, The Four Temperaments, Ballet Imperial, Serenade, Rubies, Diamonds, Theme and Variations; Bruce’s Ghost Dances, Intimate Pages, Rooster, Grinning in Your Face; Forsythe’s Artifact Suite; Kylian’s Petite Mort, Sinfonietta, Svadebka; McGregor’s Dyad 1929; Welch’s Giselle, Maninays, Tapestry, Swan Lake, La Bayadère; Stevenson’s The Sleeping Beauty, The Nutcracker; Lander’s Etudes; Robbins’ The Concert.

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JUNIOR PRINCIPALS T H E S A R A S OTA B A L L E T CO M PA N Y M E M B E R S

AMY WOOD Joined The Sarasota Ballet in 2007 Promoted to Junior Principal in 2015 Featured Roles include: Ashton’s Enigma Variations, A Wedding Bouquet, Les Patineurs, Illuminations, Jazz Calendar, Birthday Offering, Monotones II; Balanchine’s Emeralds, Rubies, Prodigal Son, Serenade; Fokine’s Les Sylphides; Graziano’s Symphony of Sorrows, En las Calles de Murcia, In a State of Weightlessness; MacMillan’s Concerto; Nijinsky’s L’Après-midi d’un Faune; Nureyev’s Raymonda Act III; Tuckett’s Lux Aeterna; Tudor’s Gala Performance, Continuo; Wheeldon’s The American, There Where She Loves; Wright’s Giselle.

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FIRST SOLOISTS

T H E S A R A S OTA B A L L E T CO M PA N Y M E M B E R S

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KRISTIANNE KLEINE

ELIZABETH SYKES

Joined The Sarasota Ballet in 2010 Promoted to Soloist in 2014 and First Soloist in 2016

Joined The Sarasota Ballet in 2009 Promoted to Soloist in 2014 and First Soloist in 2016

Featured Roles include: Ashton’s Enigma Variations, Jazz Calendar; Balanchine’s Stars and Stripes, Apollo, Emeralds, Rubies, The Four Temperaments; Bruce’s Sergeant Early’s Dream; de Mille’s Rodeo; de Valois’ Checkmate; Graziano’s Before Night Falls, In a State of Weightlessness; Layton’s The Grand Tour; MacMillan’s Concerto; Nureyev’s Raymonda Act III; Taylor’s Company B; Tuckett’s The Secret Garden; Tudor’s Gala Performance; Walsh’s Wolfgang for Webb.

Featured Roles include: Ashton’s Enigma Variations, Birthday Offering, Jazz Calendar, Façade; Balanchine’s Stars and Stripes, Emeralds, Diamonds, Serenade; Bruce’s Sergeant Early’s Dream; de Mille’s Rodeo; Graziano’s In a State of Weightlessness, Before Night Falls, Sonata in Four Movements; Kobborg’s Salute; Nureyev’s Raymonda Act III; MacMillan’s Concerto; Possokhov’s Firebird; Robbins’ Fancy Free; Taylor’s Company B; Tudor’s Continuo.

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SOLOISTS

T H E S A R A S OTA B A L L E T CO M PA N Y M E M B E R S

SAMANTHA BENOIT

JAMIE CARTER

Joined The Sarasota Ballet in 2012 Promoted to Soloist in 2016

Joined The Sarasota Ballet in 2007 Promoted to Soloist in 2014

Featured Roles include: Ashton’s A Wedding Bouquet, Tweedledum and Tweedledee, Jazz Calendar, Monotones I, Façade, Les Patineurs; Balanchine’s Stars and Stripes, The Four Temperaments, Who Cares?; Graziano’s In a State of Weightlessness; Hart’s John Ringling’s Circus Nutcracker; Layton’s The Grand Tour; MacMillan’s Concerto; Taylor’s Company B; Wheeldon’s The American; Wright’s Summertide.

Featured Roles include: Ashton’s Birthday Offering, Enigma Variations, Façade, Les Patineurs, Monotones II; Balanchine’s Emeralds, Serenade; Darrell’s Othello; Bourne’s Boutique, Infernal Galop; Cranko’s Pineapple Poll; de Valois’ The Rake’s Progress; Hart’s John Ringling’s Circus Nutcracker; Layton’s The Grand Tour; Robbins’ Fancy Free; Taylor’s Company B; Tuckett’s The Secret Garden; Wheeldon’s The American; Wright’s Summertide.

GIORGIA LEONARDI

RYOKO SADOSHIMA

Joined The Sarasota Ballet in 2017 Previous Company | Teatro Massimo di Palermo

Joined The Sarasota Ballet in 2011 Promoted to Soloist in 2016

Featured Roles with Teatro Massimo di Palermo included: Nunez’s Giselle; Kylian’s Sechs tanze; Petit’s L’Arlésienne, Pink Floyd Ballet; Dean’s Cinderella; Monteverde’s Bolero; Tortelli’s Vox Multitudinis; Levaggi’s Water Game; Graham’s Diversion of Angels, Acts of Light; Gonzalez’s Don Quixote (Kitri); Derevianko’s Mozart; delle Monache’s DiVerdissement; Bigonzetti’s čajkovskij.

Featured Roles include: Ashton’s A Wedding Bouquet, Jazz Calendar, Monotones I, Façade, The Two Pigeons; Balanchine’s Emeralds, Serenade, Who Cares?; Graziano’s In a State of Weightlessness, Before Night Falls, Sonata in Four Movements; Layton’s The Grand Tour; MacMillan’s Concerto; Tuckett’s The Secret Garden; Tudor’s Continuo; Wheeldon’s The American; Wright’s The Mirror Walkers, Summertide.

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CORYPHÉE

T H E S A R A S OTA B A L L E T CO M PA N Y M E M B E R S

MICHAEL BURFIELD

DAGNY HANRAHAN

Joined The Sarasota Ballet in 2014

Joined The Sarasota Ballet in 2010 Promoted to Coryphée in 2015

Featured Roles include: Balanchine’s Diamonds Graziano’s Sonata in Four Movements Taylor’s Company B Tuckett’s The Secret Garden Tudor’s Continuo

Featured Roles include: Ashton’s Façade Carter’s Between Longing and Yearning Balanchine’s The Four Temperaments Balanchine’s Who Cares?

Tudor’s Gala Performance

FILIPPO VALMORBIDA

CHRISTINE WINDSOR

Joined The Sarasota Ballet in 2017 Previous Company | Royal New Zealand Ballet

Joined The Sarasota Ballet in 2007 Promoted to Coryphée in 2010

Featured Roles with Royal New Zealand Ballet included: Petit’s Carmen Petit’s L’Arlésienne Paris Opera Production of The Sleeping Beauty Paris Opera Production of Paquita Vanteiglia’s Romea and Juliet

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Featured Roles include: Ashton’s Les Patineurs Bourne’s Infernal Galop de Valois’ The Rake’s Progress Layton’s The Grand Tour Walsh’s Wolfgang for Webb

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CORPS DE BALLET T H E S A R A S OTA B A L L E T CO M PA N Y M E M B E R S

ASIA BUI

WESLLEY CARVALHO

RACHEL COSTIN

Joined The Sarasota Ballet in 2015 Previous Company | Houston Ballet

Joined The Sarasota Ballet in 2016 Trained at | Academia de Ballet Elisa

Joined The Sarasota Ballet in 2016 Trained at | School of American Ballet

INDIANA COTE

IVAN DUARTE

MADYSEN FELBER

Joined The Sarasota Ballet in 2016 Trained at | Margaret Barbieri Conservatory

Joined The Sarasota Ballet in 2016 Previous Company | Orlando Ballet

Joined The Sarasota Ballet in 2015 Trained at | Canadian National Ballet School

THOMAS GIUGOVAZ

CHRISTINA HARWARD

BEN KAY

Joined The Sarasota Ballet in 2016 Trained at | La Scala Theatre Ballet School

Joined The Sarasota Ballet in 2017 Previous Company | Estonian Ballet

Joined The Sarasota Ballet in 2015 Previous Company | Charlotte Ballet

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CORPS DE BALLET T H E S A R A S OTA B A L L E T CO M PA N Y M E M B E R S

WILSON LIVINGSTON

NICOLAS MORENO

DANIEL PRATT

Joined The Sarasota Ballet in 2016 Trained at | School of American Ballet

Joined The Sarasota Ballet in 2016 Trained at | Ellison Ballet School

Joined The Sarasota Ballet in 2012 Previous Company | Northern Ballet Theatre

SHANNON ROMEO

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ERIK THORDAL-CHRISTENSEN

Joined The Sarasota Ballet in 2017 Previous Company | Nashville Ballet, Second Company

Joined The Sarasota Ballet in 2017 Previous Company | Boston Ballet

PATRICK WARD

KELLY WILLIAMS

Joined The Sarasota Ballet in 2012 Trained at | Joffrey Ballet School New York

Joined The Sarasota Ballet in 2016 Trained at | The Washington School of Ballet

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APPRENTICE PROGRAM

JULIANNE BLUNT

CLAIRE BOREN

GUILHERME DIAS

Trained at Butler University

Trained at The Sarasota Ballet Trainee Program (16/17) American Ballet Theatre JKO School

Previous Company Miami City Ballet (Apprentice)

JACK KADZIS

JAISON MCCLENDON

CLAYTON MCKENNA

Trained at Boston Ballet School

Trained at The Sarasota Ballet Trainee Program (15/16) Second Season

Trained at School of American Ballet

MADELEINE PURCELL

HALLE SHERMAN

Trained at The Sarasota Ballet Trainee Program (16/17) American Ballet Theatre JKO School

Previous Company Pennsylvania Ballet, Second Company

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STUDIO COMPANY The Sarasota Ballet ’s Studio Company is a training program offering a comprehensive curriculum as well as oppor tunties to work alongside the professional Company. Dancers have a week ly rotation into Company class, plus understudy and potentially per form Corps de Ballet roles as and when needed. Studio Company dancers are ambassadors of The Sarasota Ballet and represent the organization, bringing dance education programs to local schools and other communit y venues.

ANABEL ALPERT

ALEXANDRE BARBOSA

ZOE CAVEDON

Trained at | Miami City Ballet School

Second Season Trained at | Petite Danse

Trained at | Harid Conservatory

TARA DESANTO

TAIGUARA GOULART

JONATHAN LEONARD

Second Season Trained at | Boston Ballet School

Second Season Trained at | Associa Second Season Corpo

Trained at | Joffrey Ballet School

MEREDITH MORELAND

YUYA MIZUSHIMA

Trained at | Margaret Barbieri Conservatory

Trained at | Royal Winnipeg Ballet School

CADENCE A ROLLAND

EVAN THORNTON

Trained at | Ballet Nova Center for Dance

Trained at | Vitacca Dance Project

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PRINCIPAL GUEST ARTISTS P E R F O R M I N G W I T H T H E S A R A S OTA B A L L E T

XANDER PARISH

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Xander was born in East Yorkshire, England and began dancing in Kingston upon Hull at the age of eight. In 1998 he joined The Royal Ballet School in London where he trained until summer 2005 when he joined The Royal Ballet Company. In 2009, Xander was invited to join The Mariinsky Ballet by its ballet director Yuri Fateyev and moved to St. Petersburg to join the company in January 2010 as its first and only British dancer. During the Mariinsky’s 2017 London Season, Xander was promoted on stage to Principal at The Royal Opera House.

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Principal Dancer with the Mariinsky Ballet Guest Artist for Sir Frederick Ashton’s Marguerite and Armand

His repertoire includes: Count Albrecht (Giselle), Prince Siegfried (Swan Lake), Romeo (Romeo and Juliet), Nutcracker Prince (The Nutcracker), Prince Désiré (The Sleeping Beauty) Count Vronsky (Ratmansky’s Anna Karenina), Jean de Brienne (Raymonda), Andrés (Paquita), Vaslav (Fountain of Bakhchisarai), Poet (Chopiniana), Golden Slave (Scheherazade), Soloist (Le Parc); Ashton ballets include Aminta (Sylvia) & Armand (Marguerite and Armand), Balanchine ballets include the lead roles in Apollo, Emeralds, Diamonds and Serenade; and Hans Van Manen’s Adagio Hammerklavier and Variations for Two Couples.

His awards include the Positano Premia La Danza Léonide Massine Emerging Dancer on the International Scene Award 2014, Best Young Male Dancer at the 1st Taglioni European Ballet Awards in Berlin 2014, and Outstanding Male Performance (Classical) for Apollo at the UK’s Critics Circle National Dance Awards 2014.

Xander has been a guest artist with the Kremlin Ballet and the Stanislavsky Ballet in Moscow, the ballet company of the Opera National Bucharest, English National Ballet and in May 2016 Xander made his debut with American Ballet Theatre as an ABT Exchange Artist dancing the role of Aminta in Ashton’s Sylvia.

Xander is generously supported by The Mariinsky Theatre Trust UK.

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PRINCIPAL GUEST ARTISTS P E R F O R M I N G W I T H T H E S A R A S OTA B A L L E T

FRIEDEMANN VOGEL Principal Dancer with Stuttgart Ballet Guest Artist for Sir Frederick Ashton’s The Dream

Friedemann Vogel was born in Stuttgart, Germany, and completed his ballet training at the Princess Grace Academy of Classical Dance in Monte Carlo with the John Gilpin scholarship from Princess Antoinette of Monaco. He showed his outstanding talent by winning several international ballet competition awards. In 1997 he won the Prix de Lausanne, the Gold medal in the Prix de Luxembourg, Eurocity Competition in Italy and in 1998 he won the Jackson Competition USA. In September 1998 Friedemann Vogel joined the Stuttgart Ballet and quickly rose through the ranks. In 2002 he was promoted to first soloist, the company’s highest rank.

In the same year he also won the much-coveted Erik Bruhn Prize in Toronto, Canada. He has been elected Dancer of the Year 2010 by the international dance critics survey of the magazine TANZ, and in June 2012, Friedemann was appointed by the Italian dance magazine Danza&Danza as best male dancer. His repertory includes title roles in the classics, as well as principal roles in pieces by Choreographers ranging from Cranko and Balanchine to Robbins and Kylián, from Neumeier to Forsythe and McGregor.

Vogel was invited to dance as a guest artist by the most prestigious companies including the Mariinsky Theater St. Petersburg, the Bolshoi Ballet Theatre Moscow, Teatro alla Scala Milano, the English National Ballet, the National Ballet of China, the Tokyo Ballet, the Hong Kong Ballet, Ballets de Santiago de Chile, the Finnish National Ballet, Staatsballett Berlin and the Bayerisches Staatsballett, Teatro dell’Opera di Roma, Royal Swedish Ballet, the Vienna State Ballet, the Korean National Ballet and the Béjart Ballet Lausanne.

Since September 2014 Vogel is a Guest Principal with the Mikhailovsky Theatre in St. Petersburg. In September 2015 he was awarded the national title of “Kammertänzer.” In 2016 he received the “Prix MAYA.”

Baki Photography

Friedemann Vogel’s Performances are made possible by Marcia Jean Taub, in loving memory of Ethel and Ron Taub.

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THE SECRET GARDEN Will Tuckett’s The Secret Garden is an adaptation of Frances Hodgson Burnett’s classic children’s book of the same name.

Collaborating closely with his creative team, he has created a narrative ballet that is as much a piece of theater as it is a traditional ballet. Unconventionally, an actor, on stage throughout the piece, acts sometimes as narrator, describing the action and providing context, sometimes as the interior voice of Mary, our heroine, and at other times as the voices of the other characters. The text, spare and poetic in style, provides clarity, so that there is no need for explanatory program notes and the story is completely understandable for an audience unfamiliar with the conventions of classical ballet.

The Secret Garden follows Mary, a young orphan, from her arrival at her uncle’s large country house. Spoiled and used to a cosseted life, her stiff and cold behavior gradually thaws as she falls under the spell of the mansion’s gardens and the surrounding countryside. Through the friends she makes and the tending and bringing back to life of an overgrown, locked-away garden, she heals not just herself but those around her.

Hodgson believed strongly in the health benefits to mind, body and soul of being outdoors in the fresh air, and thus her story moves between the dark, stultifying gloom of her uncle’s mansion and the open spaces of its gardens and the surrounding moors.

This is the first professional dance adaptation of The Secret Garden following several in theater, film and television, notably the 1949 film version featuring a marvelous performance by Margaret O’Brien. Tuckett and his team have used the novel as a starting point rather than sticking to it too closely. The novel’s messages of the importance of friendship, family and our connection to nature are as true now as when the novel first appeared in 1911 and are at the heart of this adaptation.

Choreography by Music by Design by Libretto by Lighting Design by

Will Tuckett Jeremy Holland-Smith Tim Meacock Alasdair Middleton Aaron Muhl

WILL TUCKETT Choreographer Will Tuckett is an award-winning choreographer, dancer and director of theater, opera and film. Trained at The Royal Ballet School, he was a member of The Royal Ballet from 1990–2005 working as a choreographer and dancer. He is now a Principal Guest Artist. He has choreographed for all the major UK dance companies and also in Europe, the USA, Canada, Japan and China.

In 2006 he was made the first ROH2 Creative Associate for The Royal Opera House, responsible for devising and delivering an innovative series of works for new and family audiences. These have now been seen within the Opera House and on tour, both in the UK and abroad. Films of his productions include Pinocchio (BBC), Stravinsky’s The Soldier’s Tale (WowWow TV Japan) and Elizabeth (Sky Arts).

Awards include the Cosmopolitan Dance Award, The Ursula Moreton Award for Choreography (twice), Jerwood Foundation Award for Choreography, and Varna International Competition Award for Best Choreography. His production of The Wind in the Willows transferred into the West End in 2013 and won the 2014 Olivier Award for Best Entertainment. He was Artistic Associate of The Royal Opera House 2007-2011 and was the Clore Dance Fellow 2008-2010. He also directs for theater, opera, musical theater and film including work for The Royal Shakespeare Company, Shakespeare’s Globe, Almeida Theatre, Sage Gateshead, the Whitechapel Gallery, Tate Modern, Tate Tanks, The National Gallery, the BBC and Channel 4.

Most recently Tuckett directed and choreographed the full length dance/drama Elizabeth for The Royal Ballet which is touring internationally through the summer of 2017, directed Rossini’s L’Italiana in Algeri for Garsington Opera, and choreographed Cole Porter’s Kiss Me Kate for Opera North and Welsh National Opera, currently touring throughout the UK. His most recent work was a new full length Pinocchio for the National Ballet of Canada.

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JEREMY HOLLAND-SMITH Composer Jeremy is a composer, orchestral arranger and conductor who has amassed an extensive range of work in film, television, ballet and theatre. Jeremy’s musical training started from a young age studying at the Junior Guildhall School of Music and the Royal Northern College of Music, winning numerous prizes at both. As a composer, Jeremy’s most recent credits include composing the score for the feature film The Passing (dir. Gareth Bryn) which won three 2016 BAFTA Cymru awards and winner of the 2017 Music and Sound Award for Best Original Feature Film score; the score for Will Tuckett’s Changing Light (2013) and The Secret Garden (2014) to critical acclaim.

He has also scored BBC series’ Frankie and The Dumping Ground, the ITV film Doors Open and he has won awards for his advertising campaigns for Phones for and scored the US campaign for Hertz. As an orchestrator and conductor his recent work with Paul Englishby includes, The Musketeers (BBC), Witness for the Prosecution (BBC), Decline and Fall (BBC), A Royal Night Out (dir. Julian Jarrold) and his work with Murray Gold including Life Story (BBC) and Doctor Who (BBC). He has also worked closely with Joby Talbot on numerous projects including Psychoville (BBC), Hunky Dory (dir. Marc Evans), Alice’s Adventures in Wonderland (ROH), and Tide Harmonic (Signum Records). In 2016, he orchestrated and conducted Joby’s score for Universal/Illumination’s hit film Sing! (dir. Garth Jennings) and Out of Shadowland, a new live Musical show for Disney Sea, Tokyo.

As a conductor, Jeremy has worked with many orchestras including the BBC National Orchestra of Wales, BBC Philharmonic, BBC Concert Orchestra, BBC Scottish Symphony Orchestra, The City of Prague Symphony Orchestra and the Brussels Philharmonic. He made his debut at the BBC Proms in 2015 conducting the BBC Concert Orchestra in the Life Story Prom presented by Sir David Attenborough and in 2016, conducted the same concert with the Queensland Symphony Orchestra as part of the first BBC Proms Australia in Melbourne.

TIM MEACOCK Designer Tim Meacock has designed countless productions for theatres across the UK including Stephen Joseph Theatre Scarborough, Nottingham Playhouse, Royal Shakespeare Company Stratford-upon-Avon, Watford Palace, Orange Tree Theatre Richmond, Northcott Theatre Exeter, Salisbury Playhouse, Mercury Theatre Colchester and Warwick Arts Centre.

Meacock’s designs for opera include Hansel & Gretel, and Pagliacci (Scottish Opera); Die Entführung aus dem Serail, Hansel & Gretel and La Cenerentola with Will Tuckett (Iford Arts); Revival!, Grazina, Bird of Night, Another America: Earth (Royal Opera House); Die Entführung aus dem Serail (Läckö Slottsopera, Sweden); Die Fledermaus (English Touring Opera) and 12 productions including the hit revival of Salad Days for Tete-a-Tete.

ALASDAIR MIDDLETON Libretto Alasdair Middleton was born in Yorkshire and trained at the Drama Centre, London. His work as a librettist includes: with Jonathan Dove – The Monster in the Maze (Berliner Philharmoniker, London Symphony Orchestra, Aix-en-Provence Festival), Diana and Actaeon (Royal Ballet), The Walk From The Garden (Aegeas Salisbury International Arts Festival), Life Is A Dream (Birmingham Opera), Mansfield Park (Heritage Opera), Swanhunter (Opera North), The Enchanted Pig (The Young Vic, ROH2), The Adventures of Pinocchio (Opera North), and the cantata On Spital Fields (Spitalfields Festival); with Will Tuckett - Elizabeth (ROH) Pinocchio (National Ballet of Canada); with Paul Englishby - Pleasure’s Progress (ROH2), Who Is This That Comes (Opera North) and The Crane Maiden (KAAT Yokohama).

Other libretti include The World Was All Before Them, On London Fields, A Bird In Your Ear, The North Wind Was A Woman, Everything Money Can Buy (Selfridges) and The Feathered Friend. He has written four plays: Aeschylean Nasty, Shame On You Charlotte, Casta Diva and Einmal.

Commisioned by The Sarasota Ballet First Performed by The Sarasota Ballet 8 August 2014 W W W.S A R A S OTA B A L L E T. O R G | 941.359.0099

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The

Principal Film Series

Explore the world of dance through cinema inside Studio 1

KATE HONEA, PRINCIPAL OF THE SARASOTA BALLET

13 NOVEMBER 2017 - 6:00 PM Join Kate Honea as she shows us clips from some of her favorite on-stage roles so far at The Sarasota Ballet and reveals to us the hard work and dedication required for a dancer to prepare for each performance.

ROLAND PETIT, DEFINING A NEW FRENCH CHIC

12 FEBRUARY 2018 - 6:00 PM The creative figure in France’s postwar ballet, Roland Petit was responsible for defining a new French chic and erotic frankness in dance, typified above all by his wife, the glamorous star Zizi Jeanmaire. Featured is Petit’s alluring Carmen and his magnum opus Le jeune homme et la mort.

DIAGHILEV AND THE BALLETS RUSSES

12 MARCH 2018 - 6:00 PM Conceived by impresario Sergei Diaghilev, the Ballets Russes is regarded as the most influential ballet company of the 20th century, in part because it promoted groundbreaking artistic collaborations among young choreographers, composers, designers, and dancers, all at the forefront of their fields.

TANAQUIL LE CLERCQ, AFTERNOON OF A FAUN

2 APRIL 2018 - 6:00 PM Of all the great ballerinas, Tanaquil Le Clercq may have been the most transcendent.

She mesmerized viewers and choreographers alike, becoming a muse to two of the greatest choreographers in dance, George Balanchine and Jerome Robbins. At the age of 27, she was struck down by polio and paralyzed. She never danced again.

The ballet world has been haunted by her story ever since.

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ILLUMINATIONS M E T R O P O L I TA N

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ILLUMINATIONS

Choreography by

The first of two ballets created by Ashton for New York City Ballet, Illuminations is choreographed to Benjamin Britten’s 1939 settings for tenor or soprano and strings of selected poems by Arthur Rimbaud (1854-1891). Rimbaud, the enfant terrible of French poetry, scandalous lover of Verlaine and precursor of Modernism, wrote his entire oeuvre in three short years of hashish, excess and restless disillusion, before abandoning writing at age 21 and dying at the early age of 36.

These mystically dark, rich poems, in free verse or prose, express the theatricality of life, the chaotic menace of the big city, and the destructive or pain-giving aspects of physical beauty. Britten responded deeply to Rimbaud’s poetry. His music’s leitmotif, and also Ashton’s, is the repeated phrase “j’ai seul la clef de cette parade sauvage” (“I alone have the key to this wild sideshow”).

In other words, only the artist, with his unique perception of the world, can make sense of life’s “parade savage.”

Britten’s song cycle, using ten of the poems (Fanfare, Phrase, Cities, Antique, Royalty, Seascape, Interlude, Beauteous Being, Parade and Departure), was originally written for, performed by and dedicated to the soprano Sophie Wyss, but as his friendship with Peter Pears deepened into a passionate affair, Britten preferred the song cycle to be performed (as it usually is) by a tenor, and he dedicated Beauteous Being to Pears.

Ashton’s ballet follows Britten’s musical interpretation of Rimbaud’s poems, with the opening Fanfare by the protagonist (“Poet”) followed by an ensemble depiction of urban chaos (Cities, or Villes) which Britten wanted sung with “metallic irony,” ending with an appeal for peace. The Poet repeats the theme (Phrase) introducing Antique’s female dancers, expressing Sacred and Profane Love. The remaining movements mix ensemble dances with strongly characterized solos, notably the dark-edged love idyll at its emotional center – Beauteous Being. The tone darkens further in Parade, which Britten termed “creepy…a picture of the underworld,” and the work closes on a parting note of resigned farewell, promising “new affections, new noises.”

Photography Gene Schiavone

Music by

Sir Frederick Ashton Benjamin Britten

Design by

Cecil Beaton

Staged by

Grant Coyle

Lighting Design by

Aaron Muhl

SIR FREDERICK ASHTON Choreographer Sir Frederick Ashton was born in Ecuador in 1904 and determined to become a dancer after seeing Anna Pavlova dance in 1917 in Lima, Peru. Arriving in London, he studied with Léonide Massine and later with Dame Marie Rambert (who encouraged his first ventures in choreography) as well as dancing briefly in Ida Rubinstein’s company (1928-1929).

A Tragedy of Fashion (in which he danced alongside Marie Rambert) was followed by further choreographies (Capriol Suite, Façade) until in 1935 he accepted Dame Ninette de Valois’ invitation to join her VicWells Ballet as Dancer and Choreographer, his principal loyalty remaining with what would become the Sadler’s Wells and ultimately The Royal Ballet.

Besides his pre-war ballets at Sadler’s Wells (which demonstrated an increasing authority, with larger resources), Ashton choreographed for revues and musicals. His career would also embrace opera, film and international commissions, creating ballets in New York, Monte Carlo, Paris, Copenhagen and Milan. During the War, he served in the RAF (1941-1945) before creating Symphonic Variations for the Sadler’s Wells Ballet’s 1946 season in its new home at Covent Garden, affirming a new spirit of classicism and modernity in English postwar ballet.

During the next two decades, Ashton’s ballets, often created around the talents of particular dancers, included: Scènes de ballet, Cinderella (1948), in which Ashton and Robert Helpmann famously played the Ugly Sisters, Daphnis and Chloe (1951), Romeo and Juliet (1955), and Ondine (1958). He created La Fille mal Gardée (1960) for Nadia Nerina and David Blair, The Two Pigeons (1961) for Lynn Seymour and Christopher Gable, Marguerite and Armand (1963) for Dame Margot Fonteyn and Rudolf Nureyev and The Dream (1964) for Dame Antoinette Sibley and Sir Anthony Dowell.

Appointed Associate Director of The Royal Ballet in 1952, Ashton succeeded Dame Ninette de Valois as Director from 1963 to 1970, and under his direction the company rose to new heights, while his choreographic career continued with Monotones II (1965), Jazz Calendar, Enigma Variations (1968), A Month in the Country (1976) and the popular film success The Tales of Beatrix Potter (1971) in which he performed the role of Mrs. Tiggy-Winkle. He was knighted in 1962.

Named Founder Choreographer of The Royal Ballet, Sir Frederick Ashton died in 1988. His ballets, which remain in the international repertory undiminished, show a remarkable versatility, a lyrical and highly sensitive musicality. He had an equal facility for recreating historical ballets and creating new works. If any single artist can be said to have formulated a native English classical ballet style and developed it over a lifetime, it is Sir Frederick Ashton.

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BENJAMIN BRITTEN Composer Benjamin Britten remains the most important twentieth century British composer, with a long list of works that include songs, operas, choral works, orchestral works, and chamber music. Born in 1913, he began composing at an early age and at fourteen began studying with the composer Frank Bridge and the pianist Harold Samuels and attending public school before entering the Royal College of Music. In 1935 he met the poet W. H. Auden while working on documentary films and had an international success in 1937 with the Variations on a Theme of Frank Bridge.

In 1939, soon after composing Les Illuminations, Britten emigrated to the United States with Peter Pears, who became his life companion. In addition to writing a symphony and orchestrating Les Sylphides for Ballet Theatre and Rossini pieces for George Balanchine’s American Ballet Caravan (Divertimento, 1941), he wrote his first opera, Paul Bunyan, to a text by Auden. But in 1942 he and Pears returned to Britain, where as contentious objectors they gave recitals while he wrote a second opera, Peter Grimes (1945), the first British opera to enter the international repertory since Purcell’s Dido and Aeneas.

While in 1946 he established The English Opera Group and in 1949 the still flourishing Aldeburgh Festival, Britten continued composing, focusing on vocal and chamber music. His work eventually included a total of ten operas and two more for children, three church parables, three string quartets, the Symphony for Cello and Orchestra, and the War Requiem, commissioned for the consecration of the new Coventry Cathedral in 1962. Britten declined a knighthood, but in 1952 he was made a Companion of Honour and in 1965 was named to the Order of Merit. Then, shortly before his death in 1976, he became the first musician to be created a life peer.

CECIL BEATON Designer Born in 1904, the son of a wealthy London timber merchant, Cecil Beaton was a high-style fashion, portrait and war photographer, a painter, interior decorator, diarist and award-winning stage and costume designer. Educated at Harrow and Cambridge, he learned photography with his nanny’s Kodak, and, with the keen patronage of Osbert Sitwell, established himself as a successful photographer in the 1930s, with a lucrative Condé Nast contract for Vogue and Vanity Fair.

His iconic photo-portraits included Hollywood stars and the British Royal Family, while his war photographs for the British Ministry of Information made a great impact.

After the war, Beaton’s stage and film designs won Tony awards for Quadrille, My Fair Lady, Saratoga and Coco on Broadway, and Oscars for the films Gigi and My Fair Lady. He was awarded CBE (1956), Légion d’Honneur (1960), and knighted in 1972. After a stroke ended his active career in 1974, Beaton auctioned his photography archive and died in 1980. Six volumes of his diaries covering 1922 to 1974 were published in his lifetime. A confirmed bachelor, Beaton lived in some style, entertaining friends at his Wiltshire country homes—Ashcombe (1930-1948) and Reddish (1948-1980). Beaton and Sir Frederick Ashton were friends from the 1920s.

GRANT COYLE Repetiteur Born in Australia, Grant Coyle danced with companies in Australia and Germany before moving to London, where he trained at the Benesh Institute of Choreology. After graduating he worked as a Dance Notator with Scottish Ballet and the Sadler’s Wells Royal Ballet before joining the Covent Garden Royal Ballet as its Principal Notator. He has worked with many choreographers, including Balanchine, MacMillan, Ashton, Peter Darrell and David Bintley, reproducing ballets for many companies around the world. In 2004 Grant Coyle became a Repetiteur for The Royal Ballet, leaving in 2013 to pursue a freelance career. In 2008 he was made a Fellow of the Institute of Choreology.

First Performed by New York City Ballet 2 March 1950 First Performed by The Sarasota Ballet 22 November 2013 W W W.S A R A S OTA B A L L E T. O R G | 941.359.0099

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WORLD PREMIERE The Golden Glow, or The Rally, is a burst of energy that some people experience before their passing. This ballet follows a man that has been given a chance for one final, lucid moment, both mentally and physically, before he takes his dying breath. As he realizes his blessings, he decides to write a letter to his own life, revisiting and thanking all the memories and emotions he has endured. My hope is that the ballet reminds people to be grateful for what they have in their lives in the present, and not wait until it’s too late. A great reminder both for me, and for us all.

“I had watched Marcelo’s career, both as a dancer and more recently as a choreographer, but it wasn’t until Joseph Volpe invited him to Sarasota that I got to finally meet him. Working with Marcelo this previous Season was such a delight, both for myself and Margaret Barbieri, and for our dancers, so to have him return this Season to work with the Company again, but in such a different fashion is very exciting. Marcelo is a rare individual, with such a passion and respect for the art form and for its history. He has such a generous way with those around him, and I look forward now to seeing him creating on our dancers.”

– Iain Webb, Director

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Marcelo Gomes Ludwig van Beethoven Aaron Muhl

MARCELO GOMES Choreographer A native of Brazil, Marcelo Gomes began his dance studies at the age of five in Rio de Janeiro. He continuing his training at The HARID Conservatory in Boca Raton, Florida, and then at the Paris Opera Ballet School. Mr. Gomes joined American Ballet Theatre in 1997 and was promoted to Soloist in 2000 and Principal Dancer in 2002. He has performed in every full-length ballet in the company’s repertoire and has worked with and/or created leading roles for virtually every major choreographer in the last 20 years. Mr. Gomes’ performances have been seen throughout the world. In addition to his touring with ABT, he has appeared at numerous international dance festivals, and has been a guest artist with the Bolshoi Ballet, Mariinsky Ballet, The Royal Ballet, Dutch National Ballet, National Ballet of Canada, Mikhailovsky Ballet, New York City Ballet and many other prestigious companies. Mr. Gomes choreographed the Under Armour “I Will What I Want” television campaign starring Misty Copeland, and has created ballets for La Scala Ballet, Kings of the Dance, Complexions Contemporary Ballet and American Ballet Theatre. His dancing and choreography are showcased in the Juilliard Open Studios interactive app, which is available on iTunes.

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LUDWIG VAN BEETHOVEN Composer Born (1770) in Bonn into a musical family – his father sang professionally in the Archbishop-Elector of Cologne’s chapel choir, directed by Ludwig’s grandfather – Beethoven moved to Vienna in 1792, where he studied with Haydn and established himself as an outstanding pianist and a composer of true originality. By 1815 deafness had ended his performing career, although he continued to compose, his growing eccentricity tolerated by his wealthy patrons, including his pupil the Archduke Rudolph von Habsburg, for whose enthronement as Archbishop of Olmutz, he wrote his Missa Solemnis.

But it was as a composer of piano, orchestral and chamber music that Beethoven did so much to extend the possibilities of musical composition, strongly influencing the whole 19th century European tradition. His nine symphonies are definitive major works, especially the 3rd Eroica, 5th, 6th Pastoral and 9th Choral. His piano output is equally impressive, including the 32 sonatas (famously the Moonlight, Pathetique and Appassionata). He also wrote sonatas for violin and piano, trios and string quartets, including the Grosse Fuge (opus 130) and many other important chamber works.

Less well known, apart from his only opera Fidelio (staged in 1805 and revised in 1814) is Beethoven’s theatrical work which included overtures to Goethe’s Egmont and a ballet The Creatures of Prometheus, staged in Vienna in 1801. He also composed popular dances for an inn where he holidayed outside Vienna.

To his contemporaries a difficult and controversial personality, both in his behavior and in his work, Beethoven made heavy demands on his audiences and many patrons with the length and complexity of his innovative compositions, but he left a legacy and tradition that dominated 19th century symphonic and orchestral music. Beethoven died in 1827.

Vutti Photography

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THEME AND VARIATIONS

Choreography by

With Theme and Variations, Balanchine returned to his heritage in the grand Russian Imperial Ballet tradition. Grandeur is undoubtedly the keynote in this ballet conceived for its original principal couple, Alicia Alonso and Igor Youskevitch, and premiered some years before Ballet Theatre added the ‘American’ to become ABT. Balanchine chose the final movement of Tchaikovsky’s 1884 Suite No. 3 for Orchestra, in G major (opus 55), with its twelve variations on an initial theme, redolent of the world of Swan Lake and The Sleeping Beauty. Balanchine wrote that he intended the ballet “to evoke that great period in classical dancing when Russian ballet flourished with the aid of Tchaikovsky’s music.”

The curtain rises to reveal its principal couple, resplendently costumed in ivory, before a formally-posed, female corps de ballet of twelve. The principals’ statement of the theme is followed by solos, duets, quartets and ensemble dances, leading to the central grand pas de deux. Now the twelve male dancers join their partners, and the ballet builds, filling the stage with varying patterns to match the music’s majestic sweep in a gradual crescendo, culminating in a grand polonaise around the stage for the entire cast of 26 dancers. We need no set to imagine ourselves in some great imperial court.

Theme and Variations entered the repertory of New York City Ballet in 1960 and ten years later Balanchine incorporated it as the closing section of a longer ballet called Tchaikovsky Suite No. 3, using the entire score. However the original 1947 ballet is frequently danced independently, as now by The Sarasota Ballet, using the designs made by Peter Farmer for the Sadler’s Wells Royal Ballet.

The performance of Theme and Variations, a Balanchine® Ballet, is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style® and Balanchine Technique® Service standards established and provided by the Trust.

Music by

George Balanchine Pyotr Ilyich Tchaikovsky

Design by

Peter Farmer

Staged by

Sandra Jennings

Lighting Design by

Aaron Muhl

GEORGE BALANCHINE Choreographer Probably the most important and influential ballet figure in America, he was born Georgi Balanchivadze in St. Petersburg in 1904. More than three decades after his death in New York in 1983 we can appreciate more fully the huge impact of a choreographer whose creative life spanned 60 years, carrying the grand Russian classical style triumphantly into the modernist era, establishing one of the world’s leading companies—New York City Ballet—and giving America its own classical ballet tradition.

Graduating from the Petrograd Imperial School of Ballet in 1921 at age 17, he joined what is now the Mariinsky Ballet, where his first choreographies shocked the company’s traditionally-minded establishment. In 1924 he toured Germany with his own group of Soviet State Dancers until an audition for Diaghilev led to the Ballets Russes acquiring the talents of Balanchine, Tamara Geva and Alexandra Danilova.

Within a year, he was appointed Chief Choreographer, creating 10 ballets for the company, notably Apollo (1928), which Balanchine later described as the great turning point in his life, and Prodigal Son (1929)—both constantly revived to this day.

After Diaghilev’s death in 1929 and the fragmentation of the Ballets Russes, Balanchine worked in Copenhagen, Paris and for René Blum’s Ballets Russes de Monte Carlo. It was in London during his directorship of Les Ballets 1933 that Lincoln Kirstein persuaded him to come to America, where they founded the American School of Ballet in New York (1934), out of which emerged The American Ballet (1935), Ballet Society (1946), and eventually the New York City Ballet (1948), initially based at City Center, until it moved in 1964 to its present home at Lincoln Center’s David H. Koch Theater. During the 1930s and 1940s Balanchine also choreographed extensively for Broadway and the movies, including Rodgers and Hart’s On Your Toes and The Boys From Syracuse. He later married Maria Tallchief (1946-1952) and Tanaquil LeClercq (1952-1969), for whom he also created leading roles.

Balanchine’s ballets are notable in that his musical training enabled him to work closely with the music of Stravinsky, Prokofiev, Hindemith, Schoenberg, Webern—some of the greatest names of 20th century music—as well as reinterpret the music of the past: Bach, Mozart, Mendelssohn, Brahms, Tchaikovsky. One of the world’s greatest choreographers, he created a neoclassical aesthetic that connected the vigor of American modernism with the Russian ballet tradition. Balanchine now stands as a ballet colossus between America and Europe, his rich repertoire of ballets constantly performed and appreciated around the world.

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PYOTR ILYICH TCHAIKOVSKY Composer Pyotr Ilyich Tchaikovsky was born in Russia in 1840. He began taking piano lessons at age five and although he displayed an early passion for music, his parents hoped that he would grow up to work in civil service. Tchaikovsky honored his parents’ wishes in 1859 by taking a bureau clerk post for four years with the Ministry of Justice, but became increasingly fascinated with music. When he was 21, he began music lessons at the Russian Musical Society and enrolled at the newly founded St. Petersburg Conservatory, becoming one of the school’s first composition students. In 1863 he moved to Moscow, where he became a professor of harmony at the Moscow Conservatory.

Tchaikovsky’s work was first performed in 1865, with Johann Strauss the Younger conducting Characteristic Dance in Pavlovsk. In 1868 Tchaikovsky’s First Symphony was well received in Moscow and the following year, his first opera, The Voyevoda, was received with little fanfare. He repurposed some of its material to compose his next opera, Oprichnik, which achieved some acclaim in 1874 and he earned praise for his Second Symphony. Also in 1874, his opera, Vakula the Smith, received harsh critical reviews, yet Tchaikovsky still managed to establish himself as a talented instrumental composer with Piano Concerto No.1 in B-flat minor.

Acclaim came readily for Tchaikovsky in 1875, with Symphony No. 3 in D major. He embarked on a tour of Europe and in 1876 completed the ballet Swan Lake. He resigned from the Moscow Conservatory in 1878 to focus his efforts on composing. His collective body of work constitutes 169 pieces; among his most famed late works are the ballets The Sleeping Beauty (1890) and The Nutcracker (1892). Tchaikovsky died in St. Petersburg in 1893.

PETER FARMER Designer Born 1941 in Luton (England), Peter Farmer enjoyed a hugely successful and prolific theatre design career, embracing over 300 theatre and dance productions, with a special sympathy for set and costume design in dance, including productions for many of the world’s major companies: The Royal Ballet, Stuttgart Ballet, London Festival Ballet, Australian Ballet, Royal Winnipeg Ballet and Vienna State Opera, etc.

Farmer’s first ballet design was for Ballet Rambert’s Agrionia (1964), the first of many key collaborations with choreographer Jack Carter. Since then, he collaborated with most of the world’s leading choreographers and dance companies, Photo by Jonathan Gray including designs for Sir Peter Wright’s Giselle and Coppélia, Dame Alicia Markova’s Les Sylphides, Robert North’s Troy Game, Sir Frederick Ashton’s The Dream, Andre Prokovsky’s The Three Musketeers, Sir Kenneth MacMillan’s Winter Dreams, Erik Bruhn’s Chopiniana, Stanton Welch’s Madame Butterfly, Houston Ballet’s Manon, among many others.

Farmer enjoyed a possibly unparalleled reputation among British theatre and dance designers, and his designs of both costumes and sets for dance have had a major impact on 20th century theatre design. Peter Farmer passed away on the 1st of January 2017.

SANDRA JENNINGS Repetiteur Sandra Jennings was born in Boston, and began her training with June Paxman and later studied at Boston Ballet. Her training continued with a Ford Foundation Scholarship to the School of American Ballet. At SAB Jennings was trained by such greats as Alexandra Danilova, Felia Doubrovska and Stanley Williams. In 1974 she was invited by Balanchine to join the New York City Ballet and during her decade with the company she danced an impressive repertoire, including ballets by Balanchine, Robbins, Taras, d’Amboise, Ashton, Martins and Bournonville. In 1985 she became a repetiteur for The George Balanchine Trust and has staged over 30 ballets for companies worldwide. From 1993-2002 she was also Ballet Mistress for Pennsylvania Ballet and 2002-2006 for the San Francisco Ballet.

First Performed by Ballet Theatre 26 November 1947 First Performed by The Sarasota Ballet 1 December 2017 W W W.S A R A S OTA B A L L E T. O R G | 941.359.0099

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JOIN US FOR BACKSTAGE

At the Ballet • Take a complimentary guided tour behind the scenes • See our dancers in their morning class

• Visit the amazing costume workshop • Meet the Education Department and learn about our wonderful programs

ALL TOURS ARE FREE OF CHARGE

Go on a guided tour behind the scenes with The Sarasota Ballet. You’ll look in on the dancers as they prepare for the day with their morning class. Experience first-hand the incredible skill, athleticism and artistry that are the essence of our dancers. Witness the craftsmanship and dedication that go into the creation of our exquisite costumes and tutus. Meet the people who make it happen and see what life is like for a dancer offstage.

Tours take place at the FSU Center for the Performing Arts on Tuesday and Thursday mornings at 9:30 and last approximately one and-ahalf hours. There is no charge but advance reservations are required.

Call today and reserve your free tour.

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JOHN RINGLING’S CIRCUS NUTCRACKER A C C O M PA N I E D B Y T H E S A R A S OTA O R C H E S T R A

JOHN RINGLING’S CIRCUS NUTCRACKER Taking a new look at a beloved classic, Matthew Hart’s freely adapted libretto for The Sarasota Ballet’s John Ringling’s Circus Nutcracker draws inspiration from the Ringling family’s long association with the Circus and their winter headquarters in Sarasota, while Peter Docherty’s designs reflect the stylish art déco 1920’s and 1930’s. The history of the Ringling family and Circus perfectly meld with the traditional Nutcracker story, exchanging characters such as Drosselmeyer with John Ringling and the Nephew with John Ringling North.

In Act One, Clara and her unruly brother Fritz travel with their wealthy parents by Pullman train to snowbound New York. At Grand Central Station, they see the Circus loading up, supervised

by John Ringling and his nephew. The fascinated Clara wanders across and meets the trapeze stars, Sugar and Prince, but is hauled away to the family’s Christmas Eve party at a fashionable ritzy hotel.

To Clara’s delight, the Ringling entourage arrives as surprise guests at the hotel party where, from out of a circus trunk, Ringling produces many toys—a Christmas Tree Fairy in the guise of Ringling’s deceased wife Mable, that is presented to the Hotel Manager; a Nutcracker for Clara; a wind-up mouse for Fritz; and toy clowns for all the children. While the children are delighted with their gifts, Fritz is unimpressed with his wind-up mouse (until he disrupts the party with it) and fights Clara for her Nutcracker. After the party, Clara returns at midnight to retrieve her Nutcracker, which comes to life with all the other toys, but she is menaced by the mouse, which has transformed into The Mouse King, a nightmare version of her brother Fritz. As if in some bad dream, the mice become Prohibition Era gangsters who invade the hotel until the Spirit of Mable Ringling descends against a Manhattan skyline, as in a Ziegfeld revue, to rescue the Nutcracker and change him back into the nephew. With Mable now at John Ringling’s side and Clara reunited with John Ringling North, they fly away with the Circus through a Busby Berkeley-style Waltz of Snowflakes, led by Clara’s parents who have been transformed into the Snow King and Queen.

Act Two takes us to the Kingdom of the Circus (by train, of course!) at its winter headquarters in Sarasota, where the Nutcracker introduces Clara and relates her bravery against the gangster-mice.

John Ringling invites his nephew, the Ringmaster, to begin the Big Top Show in honor of Clara. The famous divertissements of Tchaikovsky’s original Nutcracker become a succession of dazzling circus acts—Equestrienne, Arabian, Acrobats, Tightrope, Clowns, Trapeze…and a Waltz of the Roses that pays tribute to Mable Ringling’s love of roses and her famous rose garden.

Choreography by Music by Design by Lighting Design by

Matthew Hart Pyotr Ilyich Tchaikovsky Peter Docherty Aaron Muhl

MATTHEW HART Choreographer Matthew Hart was born in Bedfordshire (UK) and trained at Arts Educational School and The Royal Ballet School, winning the Cosmopolitan/C&A Dance Award (1988) and both Ursula Moreton and Frederick Ashton Choreographic Awards (1991 and 1994), as well as the 1996 Jerwood Foundation Award for Choreography.

After five years as a Soloist with The Royal Ballet, dancing roles in ballets by Fokine, Nijinska, de Valois, Ashton, Balanchine, MacMillan, Tharp, Forsythe and Bintley, Hart joined Rambert Dance Company, where he continued to dance and choreograph. Hart has also danced with Tetsuya Kumakawa’s K-Ballet, George Piper Dances, Arc Dance Company, William Tuckett (Wind in the Willows, The Soldier’s Tale, Pinocchio, The Thief of Baghdad and Pleasure’s Progress), Cathy Marston (Asyla, Ghosts), New Adventures, playing The Prince in Matthew Bourne’s Swan Lake and Puck in A Midsummer Night’s Dream at Regent’s Park Theatre.

His film credits include Mrs. Henderson Presents, Riot at the Rite and Margot. His musical theatre appearances include On Your Toes with Adam Cooper, and Babes in Arms (Chichester Festival Theatre) and he has been a panelist on BBC TV’s Strictly Dance Fever.

Hart’s choreographic credits include Peter and the Wolf (The Royal Ballet School and BBC TV), Fanfare, Cry Baby Kreisler, Highly Strung and Dances with Death (The Royal Ballet), Street (Birmingham Royal Ballet), Blitz (English National Ballet), Meet in the Middle (K-Ballet) and two full-length ballets, Cinderella (London City Ballet) and Mulan (Hong Kong Ballet). More recently he has choreographed Young Person’s Guide To the Orchestra and Tchaikovsky’s Ballet Fantasy (Images of Dance and The Sarasota Ballet), Whodunnit?

(Ballet Central) and Ballet Shoes (London Children’s Ballet), My First Sleeping Beauty (English National Ballet School), an Olympic Commissioned Ballet Games for Gods (The Royal Ballet School) and Young Apollo, Super App (New English Ballet Theater, 2015).

The Circus Celebration culminates in Sugar and Prince’s Pas de Deux, Solo Variations and Coda, followed by a Grand Finale Waltz.

As John Ringling joins Mable, they ascend together on her crescent moon, while Clara is transported back to New York, where she awakes from her fantasy in front of the hotel Christmas Tree, clutching her beloved Nutcracker. Was it all a dream or did it really happen?

The Sarasota Ballet offers a dance entertainment in traditional style, with an innovative look, especially dedicated to the Ringlings and the heritage of the City of Sarasota.

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JOHN RINGLING’S CIRCUS NUTCRACKER VA N W E Z E L P E R F O R M I N G A R T S H A L L

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PYOTR ILYICH TCHAIKOVSKY Composer Pyotr Ilyich Tchaikovsky was born in Russia in 1840. He began taking piano lessons at age five and although he displayed an early passion for music, his parents hoped that he would grow up to work in civil service. Tchaikovsky honored his parents’ wishes in 1859 by taking a bureau clerk post for four years with the Ministry of Justice, but became increasingly fascinated with music. When he was 21, he began music lessons at the Russian Musical Society and enrolled at the newly founded St. Petersburg Conservatory, becoming one of the school’s first composition students. In 1863 he moved to Moscow, where he became a professor of harmony at the Moscow Conservatory.

Tchaikovsky’s work was first performed in 1865, with Johann Strauss the Younger conducting Characteristic Dance in Pavlovsk. In 1868 Tchaikovsky’s First Symphony was well received in Moscow and the following year, his first opera, The Voyevoda, was received with little fanfare. He repurposed some of its material to compose his next opera, Oprichnik, which achieved some acclaim in 1874 and he earned praise for his Second Symphony. Also in 1874, his opera, Vakula the Smith, received harsh critical reviews, yet Tchaikovsky still managed to establish himself as a talented instrumental composer with Piano Concerto No.1 in B-flat minor.

Acclaim came readily for Tchaikovsky in 1875, with Symphony No. 3 in D major. He embarked on a tour of Europe and in 1876 completed the ballet Swan Lake. He resigned from the Moscow Conservatory in 1878 to focus his efforts on composing. His collective body of work constitutes 169 pieces; among his most famed late works are the ballets The Sleeping Beauty (1890) and The Nutcracker (1892). Tchaikovsky died in St. Petersburg in 1893.

Peter Docherty Designer Peter Docherty has designed ballets for the world’s leading ballet companies, including The Royal Ballet, English National Ballet and American Ballet Theatre, as well as musicals in the West End and on Broadway, operas in Europe and North America and plays in London. He has worked with renowned artists, such as Gillian Lynne, Ned Sherrin, John Schlesinger, Lindsay Anderson, Alan Strachan, Mike Alfred, Colin Graham, John Taras, Peter Darrell, Tom Jobe, William Louther, Robert North, William Dollar, Michael Cordor, Matthew Hart and Ronald Hynd. His designs and paintings have been exhibited in Europe and North America, including a Retrospective at The Royal Festival Hall (London). He has conceived and been the curator of exhibitions, such as Designers Pushing the Boundaries and Advancing the Dance. Publications include Design for Performance: from Diaghilev to the Pet Shop Boys (1996). His work is in collections at The Victoria and Albert Museum in London. He was awarded a Full Professorship (1997) by the University of the Arts London for his outstanding achievement as a designer and educator in the field of dance.

In 2013 Docherty designed Thomas Edur’s production of La Bayadère and in 2014 he designed a new Thomas Edur production of The Sleeping Beauty, both for the Estonian National Ballet. In 2014 Pacific Northwest Ballet revived Ronald Hynd’s production of The Sleeping Beauty as designed by Docherty and the Hungarian National Ballet in Budapest presented a newly redesigned production of Ronald Hynd’s The Merry Widow.

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Inside The Studio A series of unique experiences featuring a rare glimpse behind the curtain of The Sarasota Ballet

TROY GAME

INNOVATING MOVEMENT AND ACTING

17 JANUARY 2018 - 6:00 PM Join The Sarasota Ballet for a unique behind-the-scenes look at Robert North’s energetic and comical Troy Game. Julian Moss, one of the original company members of the distinguished London Contemporary Dance, will provide insight into this unique work, coaching the dancers and discussing the impact Troy Game has had on the world of dance.

THE DREAM

TRANSMUTING CHOREOGRAPHY AND STORYTELLING

21 FEBRUARY 2018 - 6:00 PM Join The Sarasota Ballet for a rare glimpse into the rehearsal and coaching process behind one of Sir Frederick Ashton’s greatest masterpieces, The Dream.

Director Iain Webb and former Royal Ballet Prima Ballerina and Sarasota Ballet Assistant Director Margaret Barbieri will unveil their intimate experiences performing the principal roles in The Dream.

JOSEPH VOLPE

DISCUSSING THE TOUGHEST SHOW ON EARTH

21 MARCH 2018 - 6:00 PM Join former General Manager of The Metropolitan Opera and current Executive Director of The Sarasota Ballet, Joseph Volpe, for a discussion on his career and unique relationships within the art world. Hear his classic American success story of hard work along the path to the top of the Toughest Show on Earth.

BUGAKU

BLENDING SUBTLETY AND STRENGTH

18 APRIL 2018 - 6:00 PM Join The Sarasota Ballet as we lead up to the revival of George Balanchine’s Bugaku, his evocative tribute to the refined elegance of Japanese music and dance. Witness this private and extraordinary insight into a ballet that has been described as having “the subtlety of Japanese silk, the strength of Japanese wrestlers.”

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AIRS MOVING IDENTITIES

AIRS

Choreography by

In his autobiography, Private Domain, Paul Taylor writes with characteristic glee of creating his landmark Aureole to Handel music in 1962, when modern dance was eschewing “lyricism, pure or unexpressionistic kinds of dance and reassuringly melodic music.”

Mr Taylor hoped “to rankle anyone who thinks modern dance has to limit itself to modern music and weighty meanings.” The huge success of Aureole heralded a series of almost neo-classical Taylor dances to Baroque music: Bach (Esplanade), Boyce (Arden Court) and Handel (Airs).

These dances are in a quite different mode from Paul Taylor’s darker, quirkier, satirical or puckishly comic works, and they have proved popular in the repertoires of the world’s classical ballet companies, offering an athletic, neo-classical lyricism that suits ballet dancers as well as his own quite different style of modern dancers on whom they were created. They convey a sense of air and water, of fluidity and fleetness: darting, buoyant, generous, gracious, joyous, with moments of stillness and reflection.

Airs started out as an American Ballet Theatre commission to music

by Sibelius, but Paul Taylor abandoned it until 1978, when he reshaped the material for his own dancers, using selections from Handel’s Concerti Grossi, including the famous Largo and Arrival of the Queen of Sheba. Originally titled Windward, Airs was intended to suggest ideas of water and air currents, the movement flowing and darting from dancer to dancer, an effect emphasized by Gene Moore’s clinging pastel blue male tights and female tunics with short panels of streaming, gossamer chiffon.

Characteristic of Paul Taylor’s work are the quicksilver, darting male/female couple, the graciously bouncy jumps, arms bent aloft, the fleeting runs, walks and skips that develop into dancing leaps, spins and turns, the moments of seated calm, and the figure of the solitary female dancer, on whom the curtain descends, framed by the three couples formally grouped behind her.

Music by

Paul Taylor George Frederick Handel

Design by

Gene Moore

Staged by

Cathy McCann

Lighting Design by

Aaron Muhl

PAUL TAYLOR Choreographer Paul Taylor, one of the most accomplished artists this nation has ever produced, continues to shape America’s homegrown art of modern dance as he has since becoming a professional dancer and pioneering choreographer in 1954. Having been a virtuoso performer with Martha Graham’s company in the 1950s, he uniquely bridges the legendary founders of modern dance – Isadora Duncan, Ruth St. Denis, Ted Shawn, Doris Humphrey and Ms. Graham – and dance makers of the 21st century. Through his initiative at New York’s Lincoln Center – Paul Taylor American Modern Dance – he presents great modern dances of the past, outstanding works by today’s leading choreographers, and dances he commissions from the next generation, alongside his own growing repertoire for the Paul Taylor Dance Company, thereby helping ensure the future of the art form.

Recurring themes in Mr. Taylor’s own dances – now numbering 144 – include life and death; the natural world and man’s place within it; love and sexuality in all gender combinations; and iconic moments in American history. The New York Times places him “among the great war poets” while drama critic Terry Teachout calls him “the world’s greatest living artist irrespective of medium.” Mr. Taylor’s dances are performed by the Paul Taylor Dance Company, the six-member Taylor 2 (begun in 1993), and companies throughout the world including the Royal Danish Ballet, Rambert Dance Company, American Ballet Theatre, San Francisco Ballet, Miami City Ballet, and Alvin Ailey American Dance Theater. He remains among the most sought-after choreographers working today, commissioned by presenting organizations the world over.

Paul Taylor Dance Company

Photography Paul B. Goode

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GEORGE FREDERICK HANDEL Composer Born in Halle, Duchy of Magdeburg, in 1685, George Frederick Handel was one of eight children born to a court barber-surgeon. Stories of paternal opposition and a nocturnally-played clavichord in the family attic are dubious, but the Duke of Saxony urged Handel’s father to arrange for musical studies with Zachow, the Halle organist, and Handel rapidly developed skills on harpsichord, organ, violin and oboe, and in composition. After some years as professional organist in Halle, Handel moved to Berlin and in 1703 to Hamburg, where his first operas were staged.

After a period in Italy where he wrote his first Italian operas, as well as oratorios and sacred music, in 1710 Handel became Kappelmeister to the Elector of Hanover (later George I of Britain) before visiting London, where his opera Rinaldo became an enormous success. Two years later he settled there, writing operas and eventually many other kinds of works. He enjoyed the patronage of Queen Anne, George I (for whom his famous Water Music was written), and George II, for whom he wrote his 1727 Coronation Anthems, which has been played at every British coronation since. In 1727 Handel became a naturalized British subject.

In 1720 he founded the Academy of Music to present opera in Italian and eventually oratorios in English, but after the triumphant success of Messiah in 1742, Handel gave up opera for oratorio. His huge output included 40 operas, many oratorios, and choral works, as well as chamber and orchestral works. From 1750, he dedicated himself to the Foundling Hospital for orphan children, giving generously and raising large sums for it. An astute businessman and a popular social figure, Handel never married and kept his personal life private. He died in 1759 and was buried with state honors in London’s Westminster Abbey.

GENE MOORE Designer A pioneer in American design and a dazzling innovator in the art of window-dressing, creating 5,000 window displays over 39 years for New York’s Tiffany & Co., whose Artistic Director and Vice President he became in 1955, Gene Moore was born in 1910 in Birmingham, Alabama. Self-taught, his one idea was to escape Birmingham: “the wrong place”, he said, “to be born in, for anyone with dreams.”

Abandoning early ambitions to be a painter or concert pianist, he moved to New York, taking various casual jobs until in 1935 he landed his first job as a window-dresser. His originality and flair swiftly led to promotion and a growing reputation for innovation. He is said to have been the first to design a Christmas store display using only white, rather than colored lights.

“I’m probably a little crazy,” he said. “You have to be, to produce something original.” Always attuned to trends in art and design, he used the work of Robert Rauschenberg, Jasper Johns and Andy Warhol in his displays, or showcased Tiffany’s gems against shattered glass, lettuce leaves or his own collection of hummingbirds. After photographing a famous 1952 session with Audrey Hepburn for Bonwit Teller, he worked with the actress again for her iconic portrayal of Holly Golightly in the 1960 film Breakfast at Tiffany’s.

Airs is one of several Paul Taylor dances that Moore designed. Tiffany, for whom he created his last design at the age of 84, described him as “a magician, pure and simple.” He died in 1998.

CATHY MCCANN Repetiteur

Paul Taylor Dance Company

Cathy McCann Buck toured internationally for 13 years as a principal dancer with the Paul Taylor Dance Company. She also performed with Mikhail Baryshnikov’s White Oak Dance Project in Europe and the United States. Ms. McCann has staged Paul Taylor works for, among others, Alvin Ailey American Dance Theater, San Francisco Ballet, and the Paris Opera Ballet and has served on the faculty of various universities and dance festivals. She currently teaches at the Taylor studio in New York and most recently staged Mr. Taylor’s Company B on American Ballet Theatre.

First Performed by the Paul Taylor Dance Company 30 May 1978 First Performed by The Sarasota Ballet 26 January 2018 W W W.S A R A S OTA B A L L E T. O R G | 941.359.0099

Photography Paul B. Goode

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VALSINHAS MOVING IDENTITIES

VALSINHAS Ricardo Graziano’s Valsinhas, Portuguese for Little Waltzes, is a series of 25 waltzes from Franz Schubert’s 34 Valses Sentimentales, with each waltz less than a minute in length. First choreographed for The Sarasota Ballet’s 2013 production of Theatre of Dreams, Graziano was tasked by Director Iain Webb with creating a work that incorporated on-stage live music.

During the creative process the ballet was originally created with a cast of five men; however as rehearsals continued, and as Graziano saw where the ballet was moving, he decided to add another cast, this time composed entirely of women, creating an almost battle of the sexes feel to the performance.

“It is human to listen to music and start dancing. I decided to have a piano on stage so the dancers could hear the music and simply dance to it while having fun, making it a joyful and playful ballet.”

- Ricardo Graziano

Choreography by Music by Lighting Design by

Ricardo Graziano Franz Schubert Aaron Muhl

RICARDO GRAZIANO Choreographer Ricardo Graziano started dancing when he was 8 years old in his hometown of Mogi das Cruzes, Brazil. At the age of 16 he won a scholarship to study at the Academie des Tanzes in Mannheim, Germany, and in 2005 joined Tulsa Ballet.

In 2010 Graziano joined The Sarasota Ballet as a Soloist, and in 2011 was promoted to Principal. His lead roles include Ashton’s Marguerite and Armand, Enigma Variations, La Fille mal Gardée, Symphonic Variations, Illuminations, Birthday Offering, Les Patineurs, Monotones II, and Valses nobles et sentimentales; Balanchine’s Stars and Stripes, Emeralds, Diamonds, Prodigal Son, Serenade, and Who Cares?; de Mille’s Rodeo; de Valois’ The Rake’s Progress; Fokine’s Les Sylphides; Nijinsky’s L’Après-midi d’un Faune; Nureyev’s Raymonda Act III; Tudor’s Lilac Garden; Tuckett’s Changing Light, Lux Aeterna, The Secret Garden; Wheeldon’s The American and There Where She Loves; Wright’s Summertide.

In 2011 Ricardo Graziano was given the opportunity by Iain Webb to choreograph his first ballet, and since then choreography has become one of his passions. Shostakovich Suite, which premiered in October 2011, was his first professional creation. Following this ballet, Graziano choreographed four new ballets before being appointed Resident Choreographer by Iain Webb onstage in 2014 after a performance of Symphony of Sorrows. Quoting Dame Ninette de Valois’ comment to Roland Petit, Webb declared, “You are a real choreographer, my boy.” Since then he has choreographed three more works for the Company, including In a State of Weightlessness, which premiered 12 August 2015, as a part of The Sarasota Ballet’s first week-long residency at the Jacob’s Pillow Dance Festival.

His other works for The Sarasota Ballet include Pomp and Circumstance, Valsinhas, Before Night Falls and En las Calles de Murcia. The Sarasota Ballet’s performance of Graziano’s Sonata in Four Movements premiered 19 August 2016 at the 1932 Criterion Theatre in Bar Harbor, Maine, to mark the National Park Service Centennial.

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FRANZ SCHUBERT Composer Franz Schubert was a prolific composer, writing some 600 lieder and nine symphonies, although he died at the age of 31. Aged 10, the young Schubert won a place in the Vienna Imperial Court chapel choir and quickly gained a reputation as a budding composer with a set of facile string quartets. After leaving school Schubert briefly followed his father into the teaching profession, composing his first indisputable masterpiece, Gretchen am Spinnrade, at 17. While Schubert was still struggling to hold down a full-time teaching post, he composed 145 lieder (songs), the Second, Third and Fourth Symphonies, two sonatas and a series of shorter works for solo piano, two mass settings and other shorter choral works, four stage works, and a string quartet, in addition to various other projects. This period of intense creative activity remains one of the most inexplicable feats of productivity in musical history.

With little money and nothing much more than his “groupies” to support him, Schubert began to produce a seemingly endless stream of masterpieces that for the most part were left to posterity to discover, including the two great song cycles, Die Schöne Mullerin and Winterreise, the Eighth (“Unfinished”) and Ninth (“Great”) Symphonies, the Octet for Wind, the last three string quartets, the two piano trios, the String Quintet, the “Wanderer” Fantasy, and the last six sonatas for solo piano.

Commisioned by The Sarasota Ballet First Performed by The Sarasota Ballet 3 May 2013 W W W.S A R A S OTA B A L L E T. O R G | 941.359.0099

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TROY GAME MOVING IDENTITIES

TROY GAME “How to turn your Greek Frieze into a light relief” Only the truly skillful theatre creator could “have his cake and eat it” to quite the extent and with such confident success as Robert North in his seminal ballet Troy Game, a resounding hit since its 1974 premiere, entering the repertoires of companies worldwide, including Dance Theater of Harlem (1979) and The Royal Ballet (1980).

On the one hand, we are offered a blatant celebration of handsomely unclad masculinity, strutting its stuff with unashamed bravura; and on the other, we can enjoy a wickedly self-aware “pulling out of the carpet” from under the male ego. The result, it must be admitted, is, quite simply, huge fun. Jennifer Dunning (The New York Times, 1991) rightly identified the wit, purity and innovation of its “intricately constructed series of moving friezes” found beneath its “goofy exterior.”

The title refers to the periodic ritual of elaborate horseback maneuvers whereby the ancient Romans celebrated their claimed descent from the survivors of the sack of Troy (see Virgil’s Aeneid), which continues to be honored (most recently by Hollywood) with a generous display of absurdly posturing, loin-clothed manhood. The classical motif is not restricted, however, to costume and title alone, but also the ballet’s intentional use of the frieze, reminiscent of Greek or Roman stonework.

Originally created on six dancers, Troy Game emerged from Robert North’s interest in the martial art forms Aikido (Japan) and Capoeira (Brazil) and the desire to stage a light-hearted dance poking fun at the male ego. The music reflected this starting-point, in composer Bob Downes’ choice of the Brazilian Batucada rhythm.

Choreography by

Robert North

Music by

Bob Downes

Design by

Peter Farmer

Staged by

Julian Moss

Lighting Design by

Aaron Muhl

ROBERT NORTH Choreographer The American dancer and choreographer Robert North was born in Charleston, South Carolina (1945) but established his career and reputation in London, where he enrolled at the Central School of Arts before studying dance with Kathleen Crofton, at the Royal Ballet School (19651967) and London School of Contemporary Dance Theatre (LCDT) in 1967. He returned to the USA to study with Merce Cunningham and join Martha Graham’s company, but rejoined LCDT in 1969, for which he choreographed many works, from the seminal Troy Game (1974) to Death and the Maiden and Songs and Dances (1981), becoming Associate Choreographer (1975) and co-Artistic Director (1981) As Associate Choreographer (from 1975) and Artistic Director (1981-1986) of Ballet Rambert, North choreographed further works including Pribaoutki (1982), Colour Moves (1983) and Entre Dos Aguas (1984). He also worked widely in opera, film, TV, revue and theatre, creating works for Batsheva Dance Company, English National Ballet, Geneva Ballet, Royal Danish Ballet, and Stuttgart Ballet. He also taught contemporary dance at the Royal Ballet School, was Ballet Director at Turin (1990-1991) and Verona (19971999), and Artistic Director of Gothenburg Ballet (1991-1996), then Scottish Ballet (1999-2002).

For these, and other companies worldwide, North has choreographed to the music of Schubert (Einsame Reise 1985 and A Stranger I Came 1992), Offenbach (Offenbach in the Underworld 1995), Copland (Dances to Copland 1985 and Living in America 1991), Shostakovich (Elvira Madigan 1987 and Hamlet 1997), Prokofiev (Romeo and Juliet 1990) and Orff (Carmina Burana 1990).

His hugely successful staging of The Snowman to Howard Blake’s music (1993) has been revived annually, and his works remain in demand internationally.

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BOB DOWNES Composer Best known as an avant-garde flautist, saxophonist and composer, Bob (Robert George) Downes was one of the pioneers of British freeform, improvisational jazz. A dazzlingly versatile musician, able to play over 25 instruments, he has concentrated on flute, saxophone, percussion and keyboard, working with a wide range of musicians and collaborators.

After playing with the John Barry Seven and Egg, Downes burst onto the British free jazz and rock jazz scene in the early 1970’s with a series of influential albums on the Philips, Vertigo and Music for Pleasure labels, including Open Music, Electric City and Deep Down Heavy, before being one of the first musicians to start his own record label (Openian) for whom he released three more-experimental albums, including Dance Theatre and Hell’s Angels (1975).

Among several commissions for Ballet Rambert at this period was Downes’ original score for Troy Game (1974), which drew on the AfroBrazilian Batucada percussion (a sub-genre of Samba) characterized by very fast repetitions, and for which the composer used many authentic instruments, including the repinique, surdo, caixa and timba drums, and the apito (a small wooden whistle).

Since leaving Britain and moving to Europe in the 1980’s, Downes has maintained a lower profile, but he continues to compose and tour, and his ground-breaking 1970’s recordings remain available.

PETER FARMER Designer Born 1941 in Luton (England), Peter Farmer enjoyed a hugely successful and prolific theatre design career, embracing over 300 theatre and dance productions, with a special sympathy for set and costume design in dance, including productions for many of the world’s major companies: The Royal Ballet, Stuttgart Ballet, London Festival Ballet, Australian Ballet, Royal Winnipeg Ballet and Vienna State Opera, etc.

Farmer’s first ballet design was for Ballet Rambert’s Agrionia (1964), the first of many key collaborations with choreographer Jack Carter. Since then, he collaborated with most of the world’s leading choreographers and dance companies, Photo by Jonathan Gray including designs for Sir Peter Wright’s Giselle and Coppélia, Dame Alicia Markova’s Les Sylphides, Robert North’s Troy Game, Sir Frederick Ashton’s The Dream, Andre Prokovsky’s The Three Musketeers, Sir Kenneth MacMillan’s Winter Dreams, Erik Bruhn’s Chopiniana, Stanton Welch’s Madame Butterfly, Houston Ballet’s Manon, among many others.

Farmer enjoyed a possibly unparalleled reputation among British theatre and dance designers, and his designs of both costumes and sets for dance have had a major impact on 20th century theatre design. Peter Farmer passed away on the 1st of January 2017.

JULIAN MOSS Repetiteur As a soloist with London Contemporary Dance Theatre, under the Directorship of Robert Cohan, Julian Moss danced works by choreographers such as North, Davies, Alston, Taylor and Robbins. After almost a decade with the Company, Moss joined BalletMet as a guest artist for a season, before returning once again to LCDT. During this time he started his career as a repetiteur, working as Robert North’s assistant, staging his work across the globe. In 1991, Moss joined Ballet Central as Associate Artistic Director, and later that year joined Göteborg Ballet where he quickly became a soloist, Assistant and then Ballet Master. He is also known for his teaching work in both classical and modern dance, and as a choreographer, his most recent work being the choreography for Freedman’s opera The Messiah for The Royal Danish Opera.

First Performed by the London Contemporary Dance Theatre 3 October 1974 First Performed by The Sarasota Ballet 3 February 1995 W W W.S A R A S OTA B A L L E T. O R G | 941.359.0099

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Photography Paula Lobo

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BALLET HISPÁNICO FSU CENTER FOR THE PERFORMING ARTS

BALLET HISPÁNICO

Ballet Hispánico, a role model in and for the Latino community, is inspiring creativity and social awareness in our neighborhoods and across the country by providing access to arts education.

These performances feature Michelle Manzanales’ Con Brazos Abiertos, an exploration of iconic Mexican symbols that Manzanales was reluctant to embrace as a Mexican-American child growing up in Texas; Línea Recta by Belgo-Colombian Annabelle Lopez Ochoa, a work pairing the hallmark passion of flamenco dance with highly inventive and intricate partnering, set to music by flamenco guitarist Eric Vaarzon Morel; and 3.Catorce Dieciséis by Tania Pérez-Salas, one of Mexico’s most noted contemporary choreographers.

Photography Paula Lobo

23 - 25 F E B R UA R Y 2018

Con Brazos Abiertos Choreography by Michelle Manzanales

Ballet Hispánico, the premier Latino dance organization in the United States, brings individuals and communities together to celebrate and explore Latino cultures through dance. Whether dancing on stage, in school, or in the street, Ballet Hispánico creates a space where few institutions are breaking ground.

The organization’s founder, National Medal of Arts recipient Tina Ramirez, sought to give voice to the Hispanic experience and break through stereotypes. Today Ballet Hispánico is led by Eduardo Vilaro, an acclaimed choreographer and former member of the Company, whose vision of social equity, cultural identity and quality arts education for all, drives its programs.

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Línea Recta Choreography by Annabelle Lopez Ochoa 3. Catorce Dieciséis Choreography by Tania Pérez-Salas

EDUARDO VILARO Artistic Director & CEO Eduardo Vilaro was the first Artistic Director to assume the reins of Ballet Hispánico from its founding director and National Medal of Arts recipient Tina Ramirez. After seven years of igniting Ballet Hispánico’s vision with a contemporary perspective in dance and culture, he assumed the additional role of CEO for the organization. Mr. Vilaro was born in Havana, Cuba and raised in the Bronx. He holds a BFA from Adelphi University and an MA from Columbia College in Chicago. Upon his graduation from Columbia College, Mr. Vilaro founded Luna Negra Dance Theater in Chicago, a company which served as a springboard for Latino dance throughout the Midwest for 15 years. Mr. Vilaro’s own choreography is devoted to capturing the spiritual, sensual and historical essence of the Latino cultures. He created over 25 ballets for Luna Negra and Ballet Hispánico and has received numerous commissions from dance festivals and arts organizations. In 2001 he was a recipient of a Ruth Page Award for choreography, and in 2003 he was honored for his choreographic work at Panama’s II International Festival of Ballet. Mr. Vilaro was an associate professor at the Dance Center of Columbia College, has served on the board of directors of Dance/USA and is currently on the advisory board of Dance NYC. As an invited guest on panels and forums, he speaks to the growing need for cultural diversity and dance education. Mr. Vilaro is a proud 2016 inductee into the Bronx Walk of Fame.

TINA RAMIREZ Founder

Photography Paula Lobo

Ramirez founded Ballet Hispánico in 1970 and served as Artistic Director until 2009.

Under her direction, over 45 choreographers created works for the Company, many of international stature and others in the early stages of their career. Ms. Ramirez was born in Venezuela, the daughter of a Mexican bullfighter and grandniece to a Puerto Rican educator. Her performing career included international touring with the Federico Rey Dance Company, the inaugural Festival of Two Worlds in Italy with John Butler, the Broadway productions of Kismet and Lute Song and the television adaptation of Man of La Mancha. In addition to the National Medal of Arts, Ms. Ramirez has received countless awards and honors in recognition of her work, including the Dance Magazine Award, the Hispanic Heritage Award for Education, Capezio Dance Award, NYS Governor’s Arts Award, and the NYC Mayor’s Award of Honor for Arts & Culture.

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Photography Bill Cooper

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THE DREAM D R E A M S O F N AT U R E

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THE DREAM When The Royal Ballet invited three choreographers strongly associated with the history of English ballet to provide a triple bill of works to celebrate the quartercentenary of Shakespeare’s birth in 1564 (the other ballets being MacMillan’s Images of Love and Helpmann’s Hamlet), Ashton turned to the Bard’s magical A Midsummer Night’s Dream, creating his Oberon and Titania for Anthony Dowell and Antoinette Sibley, and Bottom for Alexander Grant. The resulting ballet is a 50-minute enchantment, perfectly capturing the narrative, characters and atmosphere of Shakespeare’s comedy of the follies of love. As Puck says, ”What fools these mortals be!”

Shakespeare has been a popular source for ballets, and many choreographers have created versions of Dream, but Ashton’s success has made his among the finest of them. As Peter Brinson and Clement Crisp wrote, “[his] sureness of touch and clear lyricism fix the essential midsummer magic of the play… [showing] once again that Ashton is a great English poet.”

Mendelssohn originally wrote his concert overture – one of the earliest examples of a genre popular in Romantic music – in 1826, at the age of only 17; and in 1842, a few years before his untimely death, he used it as the basis for incidental music for a production at the Prussian court theatre in Potsdam, including the song You Spotted Snakes. Asking John Lanchbery to rearrange sections and themes from this score, Ashton gave visual expression to Mendelssohn’s music, even setting his ballet in the 1840s.

The ballet adapts the music to suit its own purposes, so that the Nocturne, originally linking the distraught lovers’ scenes, becomes the rapturous reunion pas de deux of Oberon and Titania, while the Clowns’ Dance, originally accompanying the mechanicals’ farcically inept play-within-a-play, becomes Bottom’s theme.

Ashton concentrates on the essential heart of the play, discards the framing Athens scenes (Theseus, Hippolyta, the overbearing fathers and the closing nuptial performance of the mechanicals’ “Pyramus & Thisbe”) and retains the single forest setting, where the quarrelling fairies, eloping lovers and “rude mechanicals” come together in confusion, enchantment and eventual harmony.

Close study reveals with what skill Ashton has not only expressed the play’s plot and characters, but also translated Shakespeare’s actual words into dance.

Photography Bill Cooper

Choreography by Music by Design by Staged by Lighting Design by

Sir Frederick Ashton Felix Mendelssohn Peter Farmer Anthony Dowell & Christopher Carr John B. Read

SIR FREDERICK ASHTON Choreographer Sir Frederick Ashton was born in Ecuador in 1904 and determined to become a dancer after seeing Anna Pavlova dance in 1917 in Lima, Peru. Arriving in London, he studied with Léonide Massine and later with Dame Marie Rambert (who encouraged his first ventures in choreography) as well as dancing briefly in Ida Rubinstein’s company (1928-1929).

A Tragedy of Fashion (in which he danced alongside Marie Rambert) was followed by further choreographies (Capriol Suite, Façade) until in 1935 he accepted Dame Ninette de Valois’ invitation to join her Vic-Wells Ballet as Dancer and Choreographer, his principal loyalty remaining with what would become the Sadler’s Wells and ultimately The Royal Ballet. Besides his pre-war ballets at Sadler’s Wells (which demonstrated an increasing authority, with larger resources), Ashton choreographed for revues and musicals. His career would also embrace opera, film and international commissions, creating ballets in New York, Monte Carlo, Paris, Copenhagen and Milan. During the War, he served in the RAF (1941-1945) before creating Symphonic Variations for the Sadler’s Wells Ballet’s 1946 season in its new home at Covent Garden, affirming a new spirit of classicism and modernity in English postwar ballet.

During the next two decades, Ashton’s ballets, often created around the talents of particular dancers, included: Scènes de ballet, Cinderella (1948), in which Ashton and Robert Helpmann famously played the Ugly Sisters, Daphnis and Chloe (1951), Romeo and Juliet (1955), and Ondine (1958). He created La Fille mal Gardée (1960) for Nadia Nerina and David Blair, The Two Pigeons (1961) for Lynn Seymour and Christopher Gable, Marguerite and Armand (1963) for Dame Margot Fonteyn and Rudolf Nureyev and The Dream (1964) for Dame Antoinette Sibley and Sir Anthony Dowell.

Appointed Associate Director of The Royal Ballet in 1952, Ashton succeeded Dame Ninette de Valois as Director from 1963 to 1970, and under his direction the company rose to new heights, while his choreographic career continued with Monotones II (1965), Jazz Calendar, Enigma Variations (1968), A Month in the Country (1976) and the popular film success The Tales of Beatrix Potter (1971) in which he performed the role of Mrs. Tiggy-Winkle. He was knighted in 1962.

Named Founder Choreographer of The Royal Ballet, Sir Frederick Ashton died in 1988. His ballets, which remain in the international repertory undiminished, show a remarkable versatility, a lyrical and highly sensitive musicality. He had an equal facility for recreating historical ballets and creating new works. If any single artist can be said to have formulated a native English classical ballet style and developed it over a lifetime, it is Sir Frederick Ashton.

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SIR ANTHONY DOWELL Born in London, Anthony Dowell attended The Royal Ballet School from the age of ten. He began performing with the Covent Garden Opera Ballet in 1960 and was invited to join The Royal Ballet a year later. Dowell’s poised, elegant style was first revealed in 1964 when he and Antoinette Sibley created the roles of Titania and Oberon in Frederick Ashton’s The Dream. They went on to be paired by Ashton in several short works, including the Thaïs pas de deux, and Dowell took part in the creation of many of Ashton’s ballets, including Monotones and the late masterworks Enigma Variations (1968) and A Month in the Country (1976).

In 1974, Sibley and Dowell created Manon and Des Grieux in Kenneth MacMillan’s Manon. Later, Dowell also played Manon’s reprobate brother, Lescaut. He danced in the first Covent Garden performances of MacMillan’s Song of the Earth and in Anastasia as well as creating the role of Benvolio (later followed by Romeo) in Romeo and Juliet.

Two of MacMillan’s last ballets featured strong character roles for Dowell: the Emperor in The Prince of the Pagodas and the betrayed husband in Winter Dreams. Other character parts range from Drosselmeyer in Peter Wright’s staging of The Nutcracker to one of the Step-Sisters in Ashton’s Cinderella. During the 1978/79 season, Dowell appeared as a guest artist with American Ballet Theatre. He also appeared with the Joffrey Ballet as the narrator in Ashton’s A Wedding Bouquet, a role he reprised in London in 2004.

Dowell began working behind the scenes in 1984, when he was appointed assistant to the Director. Two years later he succeeded Norman Morrice as The Royal Ballet’s fifth Director.

His first production was Swan Lake, based on meticulous research into the PetipaIvanov version of 1895. The next season Dowell persuaded Ashton to allow Ondine to be brought back after an absence of more than two decades.

Dowell’s final production for the Company, The Sleeping Beauty, was first seen in 1994. Since stepping down as Director in 2001 he has staged several productions, including The Dream for American Ballet Theatre, Ballet West, the Joffrey Ballet and Tokyo Ballet. Dowell was made a CBE in 1973 and was awarded a knighthood in 1995.

Photo from a Private Collection

Throughout his career, Dowell appeared in several ballets by Jerome Robbins – Afternoon of a Faun, Dances at a Gathering, Other Dances and In the Night. Robbins asked Dowell to redesign the last of these when it entered The Royal Ballet repertory in 1973. Dowell also designed the costumes for Thaïs and The Royal Ballet’s staging of George Balanchine’s Symphony in C. Photo from a Private Collection

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FELIX MENDELSSOHN Composer Born 1809 in Hamburg, Mendelssohn was the son of a wealthy, intellectual Jewish banker, who renounced Judaism and brought his children up without religion, fleeing to Berlin in 1811 to escape Napoleon. Recognized as musical prodigies, Felix and his sister Fanny studied music from an early age, and by 17 Felix had performed publicly, published work, composed six string chamber works, his first symphony and his Midsummer Night’s Dream concert overture. The elderly poet Goethe compared Mendelssohn’s genius favorably with that of the young Mozart, whom he had also known.

Following the failure of his first opera in 1827, Mendelssohn divided his time between Düsseldorf and Britain, where his genius was recognized. Appointed in 1833 Director of Music to the City of Düsseldorf, a festival performance of Israel In Egypt revived interest in Handel’s music. In 1835, as Director of Music in Leipzig, he founded its Conservatory, which became the heart of his essentially conservative musical tastes, setting him apart from more radical contemporaries such as Liszt, Berlioz and Wagner, the latter attacking Mendelssohn as a degenerate, Jewish mediocrity in German music, a criticism finding ultimate expression in the banning of his work by the Nazis. In Britain, Mendelssohn was rapturously acclaimed, the favorite composer of Queen Victoria and Prince Albert. After a series of strokes, aged only 38, Mendelssohn died in November 1847 and was buried in Leipzig.

PETER FARMER Designer Born 1941 in Luton (England), Peter Farmer enjoyed a hugely successful and prolific theatre design career, embracing over 300 theatre and dance productions, with a special sympathy for set and costume design in dance, including productions for many of the world’s major companies: The Royal Ballet, Stuttgart Ballet, London Festival Ballet, Australian Ballet, Royal Winnipeg Ballet and Vienna State Opera, etc.

Farmer’s first ballet design was for Ballet Rambert’s Agrionia (1964), the first of many key collaborations with choreographer Jack Carter. Since then, he collaborated with most of the world’s leading choreographers and dance companies, Photo by Jonathan Gray including designs for Sir Peter Wright’s Giselle and Coppélia, Dame Alicia Markova’s Les Sylphides, Robert North’s Troy Game, Sir Frederick Ashton’s The Dream, Andre Prokovsky’s The Three Musketeers, Sir Kenneth MacMillan’s Winter Dreams, Erik Bruhn’s Chopiniana, Stanton Welch’s Madame Butterfly, Houston Ballet’s Manon, among many others.

Farmer enjoyed a possibly unparalleled reputation among British theatre and dance designers, and his designs of both costumes and sets for dance have had a major impact on 20th century theatre design. Peter Farmer passed away on the 1st of January 2017.

CHRISTOPHER CARR Repetiteur Christopher Carr is Guest Principal Ballet Master of The Royal Ballet. He has rehearsed and staged some forty works in the Company’s repertory and has taught and staged works for leading companies around the world. In 1967 he joined The Royal Ballet Touring Company and in 1970 transferred to Covent Garden, where he was promoted to Soloist in 1975 and then to Senior Soloist. He was appointed Assistant Ballet Master in 1983 and made a repetiteur the following year. He became Ballet Master in 1988 and Rehearsal Director in 2001, and in 2007 elected to take his current position.

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‘STILL LIFE’ AT THE PENGUIN CAFÉ “Way ahead of its time,” says original cast member Deborah Bull, “it works on so many different levels. You could call it cabaret with a dark underbelly.” In 1988, when David Bintley decided to present a serious issue in a whimsically light-hearted manner, concern for the environment and the gradual extinction of many species was perhaps less widely expressed than it is today.

Working on developing the characterizations of his endangered creatures in close collaboration with designer Hayden Griffin, composer Simon Jeffes (in the selection of different tracks from the various Penguin Café Orchestra albums) and his original cast, David Bintley drew his audience’s attention to the deliberate pun of “still life,” referencing both the classical painting genre and the hope of “yet living.”

Bintley’s original program note relates the brutal extinction of the Great Auk, the Atlantic’s original penguin, when, on June 3, 1844, on the island of Eldey off the coast of Iceland, three fishermen clubbed to death the last surviving mating couple and crushed their single egg. That’s the point of the ballet, a cautionary tale about our environment at risk and our criminal indifference to its survival, yet served up with wit and imagination, without preachiness, as an entertainment by the doomed species themselves.

In a stylish café restaurant, a series of creatures threatened with extinction take the floor as cabaret turns, from the Texas Kangaroo Rat and Humboldt’s Hog-nosed Skunk Flea, to the Brazilian Woolly Monkey and a Ginger Rogers-ish Utah Longhorn Ram, each creature characterized with wit and style, in both dance and costume terms. Typical of the entire approach is the ‘White Mischief’ section, in which a heartlessly self-regarding cadre of ladies, elegantly dressed in black and white stripes, witness unmoved the onstage slaughter of the noble Southern Cape Zebra, a role famously created in 1988 by the dancer Philip Broomhead.

Like much of David Bintley’s work, Still Life has an unmistakable Englishness, and sits consciously and proudly within The Royal Ballet’s de Valois and Ashton tradition, drawing on ballroom, show, and folk dance, here specifically English Morris dancing. The ballet has been wildly popular and much revived since its triumphant 1988 premiere.

Choreography by

David Bintley

Music by

Simon Jeffes

Design by

Hayden Griffin

Staged by

Patricia Tierney

Lighting Design by

John B. Read

DAVID BINTLEY Choreographer It was at the age of four that David Bintley was bitten by the performing-arts bug at a Sunday-school concert in his native Yorkshire village of Honley. He has gone on to be one of the major players in British ballet: first as a marvellously musical and entertaining character dancer with what was then the Sadler’s Wells Royal Ballet; and now for 20 years as director of the company it became, Birmingham Royal Ballet. Throughout this time, Bintley has become one of the most distinguished neo-classical choreographers of the modern age.

Born in 1957, he trained throughout his teens and at 16 won a place at the Royal Ballet Upper School. A contract at SWRB followed in 1976, and before long he was delivering gold-standard interpretations of such characters as Ashton’s Ugly Sister in Cinderella, Alain and Widow Simone in La Fille mal Gardée, Bottom in The Dream and the lead in Petrushka.

It was in 1978, thanks to SWRB’s sharp-eyed director, Sir Peter Wright, that Bintley received his first commission with the company, and created The Outsider, a work very much in the dramatic tradition of Ashton, de Valois, and MacMillan. In 1983, he became SWRB’s resident choreographer and from 1986 to 1993 held the same post with The Royal Ballet in Covent Garden. In 1995 he took over from Wright at the Birmingham Royal Ballet, while from 2010 to 2014 he was also artistic director of the National Ballet of Japan.

Bintley’s works are as plentiful they are varied, including Allegri diversi (1987), ‘Still Life’ at the Penguin Café (1988), Hobson’s Choice (1989), Tombeaux (1993), Edward II (1995), Carmina Burana (1995), Far from the Madding Crowd (1996), The Seasons (2001), Beauty and the Beast (2003), Cyrano (2007), Sylvia (2009) and Cinderella (2010).

Bintley’s 20 years with the Birmingham Royal Ballet haven’t only been a matter of creating new works and, wherever possible, commissioning new scores. He has also continued to bring to the repertoire many of the great classics that embody The Royal Ballet.

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SIMON JEFFES Composer Born in 1949 in Crawley, Sussex, the son of a research chemist, Jeffes spent his childhood years in Canada before returning to school in England and studying classical guitar at London’s Royal Academy of Music. Already dabbling in experimental music and playing with avant-garde ensembles like the Omega Players, Jeffes found new musical inspiration in Japanese and African music, and during an illness in France conceived the idea of a wildly eclectic music ensemble, The Penguin Café Orchestra, whose first album was released in 1976 on Brian Eno’s record label. “I am the proprietor of the Penguin Café,” Jeffes wrote of a visionary experience: “I will tell you things at random.”

During the 1970s, Jeffes was also working as an arranger and musical advisor, notably through Malcolm McLaren for Sid Vicious, The Sex Pistols and Adam Ant, moving between Punk and New Romantic. Ahead of his time, he was experimenting in minimalism, African and other ‘World Music,’ and earning good money with catchy soundtracks for major TV advertising campaigns.

“At the helm of the Penguin Café Orchestra,” his obituary remarked, “he transcended musical genres and broadened the listening perspectives of many people.” With such albums as Music for a Found Harmonium and Sign of Life, the Orchestra developed a cult following without hitting the mainstream until the 1988 triumph of ‘Still Life’ at the Penguin Café, on which he worked closely with David Bintley. Simon Jeffes died in 1997 at 48 of an inoperable brain tumor and the Penguin Café Orchestra disbanded.

HAYDEN GRIFFIN Designer Born in Pietermaritzburg, South Africa, in 1943, the stage designer Hayden Griffin grew up in comfortable circumstances, studied at Durban School of Art, and moved to Britain in 1965 to pursue his career and escape the Apartheid regime, which kept him under surveillance because of his links with the African National Congress, and withdrew his citizenship until he became a naturalized UK citizen in 1973. He served an apprenticeship with the illustrious London theatre design firm Motley, and got his first design job at Coventry in 1968.

Success in theatre designs for plays by Edward Bond, David Hare and other leading writers led him from William Gaskill’s Royal Court to the National Theatre and the West End, designing David Hare’s Plenty and (with Howard Brenton) Pravda, David Mamet’s Glengarry Glen Ross, Harley Granville Barker’s The Madras House, and Sophocles’ Oedipus at Colonus. In all, he designed over 30 world premiere play productions as well as for the Metropolitan Opera and a series of David Bintley ballets including Hobson’s Choice, Far From the Madding Crowd and Cyrano. He died in 2013 at the age of 70.

PATRICIA TIERNEY

Repetiteur

Photography Bill Cooper

Born in Leicester, England, Dance Notator Patricia Tierney trained at Bush Davies School, Rambert Academy and studied Benesh Movement Notation at the Benesh Institute, London. Patricia Tierney joined the Hamburg Ballet as Choreologist in 1987, returning to England in 1992 to work as Choreologist at English National Ballet before joining Birmingham Royal Ballet in 1993 as a Dance Notator. She has notated and assisted in rehearsals of new ballets and revivals of works across the repertoire, most recently assisting David Bintley with the staging of his ballets, for the National Ballet of Japan and Atlanta Ballet. Since 2009, she also teaches the Benesh Movement Notation course ‘Score reading for dancers’ at Elmhurst School for Dance, Birmingham.

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THE LEAVES ARE FADING

Choreography by Music by Costume Design by Set Design by Staged by

Antony Tudor left his native Britain in 1939 to join (American) Ballet Theatre, and when he returned to ABT as Associate Artistic Director in 1974 after 25 years’ absence, he had created no major work for some while before the 1975 premiere of The Leaves Are Fading, originally developed on his students at New York’s Juilliard School.

This delicately nuanced, plotless mood ballet proposes recollections in tranquillity, nostalgic feelings of past love, of youth departing, as Summer fades into Autumn. Tudor’s Zen Buddhism finds a natural affinity in the oriental appreciation of the beauty of falling blossoms and fading leaves. In an interview, Tudor described Leaves as “a piece without any story at all... I would not call this new work of mine ‘abstract’. Rather, I would call it empty.”

(Allowing Zen-like vacant space for personal response, perhaps?)

Taking selections from Dvorak’s tender, elegiac Cypresses, Terzetto and string quartets opus 77 and 80, Tudor presents a leafy glade in late Summer, with Ming Cho Lee’s painted backdrop echoed

by Patricia Zipprodt’s soft, hand-painted chiffon dresses for the women and matching shirts for the men. As a woman enters reflectively, groups of dancers embody her recollections of youth and loves past. With her memories reborn, she quietly crosses the stage, holding a bunch of flowers… and departs. That’s all.

Balanchine and Francis Mason wrote that the young people in the ballet “appear to know each other: the world they inhabit seems to be familiar.” Elsewhere, Tudor said that “in Leaves Are Fading, all the couples who dance together are in love, one way or another.”

Clearly, the ballet offers a gentle reflection on romantic love, lost youth and the passage of time.

Jonas Kåge, who in 1975 partnered Gelsey Kirkland in the central pas de deux describes The Leaves Are Fading as “a wonderful example of beauty and romance of past expressed through Tudor’s silvery choreography. In this piece, every movement appears to have a purpose - as if Tudor himself was using this work to retrace his own memories of youth.”

The Leaves Are Fading, © 1975 Antony Tudor, is presented by arrangement with The Antony Tudor Ballet Trust, which proudly salutes the artistry, vision, and enduring relevance of Antony Tudor’s work.

Courtesy of The Antony Tudor Ballet Trust

Lighting Design by

Antony Tudor Antonin Dvořák Patricia Zipprodt Ming Cho Lee Amanda McKerrow & John Gardner Aaron Muhl

ANTONY TUDOR Choreographer It certainly needed Marie Rambert’s inspired gift for talent-spotting to recognize the potential genius of 19-year-old William Cook (born 1908 in London), an invoice clerk at Smithfield Market. Dancemad, stage-struck and determined, he came to Rambert at the suggestion of Cyril Beaumont for ballet lessons after his day job ended and stayed to become her stage manager, assistant teacher, pianist and general factotum. Despite this late start, Antony Tudor, as he called himself professionally, rose rapidly through the 1930s to become the most serious British choreographic rival to Frederick Ashton, another Rambert discovery who moved from her Ballet Club to a future with Ninette de Valois’ emerging Vic-Wells Ballet.

Tudor’s 1931 choreographic debut Cross-Garter’d (based on Shakespeare’s Twelfth Night) earned praise from Massine, and was followed by more ballets, including Lysistrata, Adam and Eve (1932) and The Planets (1934) before the mature successes of Lilac Garden (1936) and Dark Elegies (1937), and the more entertaining Judgement of Paris and Gala Performance (1938).

In 1938, chafing under Rambert’s demands, Tudor formed London Ballet with Andrée Howard, Agnes de Mille and his lifelong partner Hugh Laing; and in 1939, as the war engulfed Britain, Tudor left London Ballet in the hands of Peggy van Praagh and accepted Lucia Chase’s invitation to join the newly formed Ballet Theatre in New York. He remained as Resident Choreographer for ten years, restaging some of his earlier works and creating new ballets including the seminal Pillar of Fire (1942).

Tudor retired from dancing in 1950 to direct the Metropolitan Opera Ballet School, teach at The Juilliard School and UCLA, while continuing to choreograph works for New York City Ballet (195152) and National Ballet of Canada. He was Artistic Director of Royal Swedish Ballet (1963-64) and continued to travel worldwide, creating ballets, teaching and inspiring widely, rejoining American Ballet Theatre as Associate Artistic Director in 1974. Among his later major works is The Leaves Are Fading (1975) to elegiac Dvořák music.

A committed Zen Buddhist, Antony Tudor succumbed to a heart attack on Easter Sunday 1987 and died, greatly respected, at the age of 79 in New York. As one of the 20th century’s most important choreographers, his work has been characterized as psychologically, emotionally and dramatically profound, full of a deeply-felt understanding of the human heart and condition.

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ANTONIN DVOŘÁK Composer Antonin Dvořák was born 8 September 1841 and raised in a small village outside Prague, Czech capital of Bohemia, then a province of the Hapsburg Empire. A devout Roman Catholic, Dvořák drew key inspiration from Czech folk music, studied organ, viola and violin and spent his early years as a professional musician and piano teacher in Prague, where in 1871 he wrote his first string quartet and in 1873 married Anna Cermakova. Of their nine children, three died in infancy.

With a wife and growing family to support, Dvořák continued to compose and found a publisher through Brahms, who became a friend and major influence. Throughout the 1870s, Dvořák’s reputation in Prague grew with his works for strings, piano and especially his Symphony No. 5. The international success of his Stabat Mater led to nine triumphant visits to England, including the premieres of his Symphony No. 7 in London (1885) and Requiem in Birmingham (1891), and an honorary degree from Cambridge University.

In 1890-1891 Dvořák conducted in Moscow, St. Petersburg and Prague, before spending three fruitful years in America (1892-1895) where he directed the National Conservatory of Music in New York. Dvořák’s desire to discover an “American music” with strong Native American and African-American roots, introduced him to American spirituals, which influenced his 9th Symphony, From the New World (New York 1893). Homesick, Dvořák returned in his later years to Prague, directing the Conservatory until his death on 1 May 1904.

PATRICIA ZIPPRODT Designer, Costumes Patricia Zipprodt worked in theatre, ballet, musicals and TV with Broadway legends such as Jerome Robbins, Hal Prince, David Merrick, Gower Champion and Bob Fosse. Born in Chicago in 1925 she moved to New York after college graduation, where a performance by New York City Ballet inspired her to pursue a career in costume design. Her first Broadway credit was for Graham Greene’s play The Potting Shed in 1957, and she went on to design over 50 theatre productions, working for New York City Ballet, Joffrey Ballet, American Ballet Theatre, Houston Ballet, New York City Opera and Metropolitan Opera. She also designed TV adaptations as well as feature films including The Graduate and 1776.

Inducted in 1992 into the Theatre Hall of Fame, she died of cancer at the age of 74.

MING CHO LEE Designer, Sets Ming Cho Lee was born in Shanghai in 1930, moving to the United States at age 19, to study at Occidental College and first worked on Broadway assisting the set designer Jo Mielziner on The Most Happy Fella (1956). His first Broadway credit as designer was in 1962 for The Moon Besieged and he went on to design sets for over 20 Broadway shows as well as over 30 productions for Joseph Papp’s Public Theater, including the original off-Broadway production of Hair, 8 productions for the Metropolitan Opera,13 for New York City Opera, and many others for regional theatres. Since 1969, Mr Lee has taught at the Yale School of Drama, and he serves on the Board of the New York Actors’ Center. The recipient of many awards, Mr. Lee was inducted into the Theatre Hall of Fame in 1998 and awarded the National Medal of Arts in 2002.

AMANDA MCKERROW Repetiteur Amanda McKerrow has the honor of being the first American to receive a gold medal at the International Ballet Competition in Moscow, 1981. McKerrow joined American Ballet Theatre in 1982, and was promoted to Principal Dancer in 1987. She danced leading roles in the major classics, and had numerous works created for her by many of the great choreographers of the 20th Century. McKerrow is a Repetiteur for the Antony Tudor Ballet Trust and stages Tudor ballets for companies and universities across the globe.

JOHN GARDNER Repetiteur John Gardner has distinguished himself in two major dance companies, American Ballet Theatre and White Oak Dance Project, joining ABT in 1978, and promoted to Soloist in 1984.

Gardner’s diverse repertoire afforded him the opportunity to work with many of the master choreographers of the 20th Century. Gardner is a Repetiteur for the Antony Tudor Ballet Trust and stages many Tudor ballets around the world, and during the course of his career has staged numerous ballets for companies and schools around the world.

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Courtesy of The Antony Tudor Ballet Trust

First Performed by Ballet Theatre 17 July 1975 First Performed by The Sarasota Ballet 27 April 2018 |

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BUGAKU

Choreography by Music by Costume Design by Set Design by Staged by Lighting Design by

Bugaku is the dance element of the traditional Imperial Court theatre art of Gagaku, whose unbroken 1200 year ancestry makes it one of the world’s oldest continuing performance styles. Based on Shinto legend, notably the story of Amaterasu the sun-goddess (from whom the Japanese Imperial Family claim descent) and Uzume, the goddess of dance and music, Gagaku was exclusive to the Japanese elite until after World War II, when performances were opened to the public.

Balanchine’s inspiration came after New York City Ballet toured to Japan in 1958 and he saw Gagaku performances, before the 1959 world tour of the Imperial Gagaku Company from Japan.

Intrigued, in 1962 he commissioned a musical score from Toshiro Mayuzumi, to suggest the style, but with Western instrumentation. Karinska’s costumes and David Hays’ red, green and white set similarly evoke but do not replicate the authentic Gagaku staging.

The 25-minute ballet is choreographed for a leading couple (originally Allegra Kent and Edward Villella) supported by four couples, and is a conscious tribute to the refined elegance, stylized ritual and courtly grace of the Japanese Imperial performance tradition.

Balanchine naturally combines this with his own aesthetic and the vocabulary of neo-classical ballet, notably in the edgier central pas de deux.

Reviewing a 1984 NYCB revival for The New York Times, Anna Kisselgoff identified Bugaku not as the stylized wedding ceremony often proposed, but as “a mating ritual in borrowed Japanese theatrical trappings”; its “harsh brilliance” illuminating a frankly erotic duet she hailed as “quirky and daring” and “the sexiest show in ballet.” Interestingly, Ms. Kisselgoff also noted an almost “music-hall flavor” in the ballet, brought out in Dance Theater of Harlem’s performances under the direction of the legendary Arthur Mitchell, who notably interpreted Bugaku’s male leading role with NYCB. For Alastair Macaulay, reviewing NYCB’s 2008 revival, again for The New York Times, Bugaku’s “overall japonaiserie and the overt sexuality of its pas de deux will extend your knowledge of what [Balanchine] could present.” There is certainly a fascination in Balanchine’s grafting of the formal opening rituals of Gagakuinspired gesture and manner onto the directly charged central pas de deux, making it one of Balanchine’s most distinctive and unexpected ballets.

George Balanchine Toshiro Mayuzumi Karinska David Hays Sandra Jennings Aaron Muhl

GEORGE BALANCHINE Choreographer Probably the most important and influential ballet figure in America, he was born Georgi Balanchivadze in St. Petersburg in 1904. More than three decades after his death in New York in 1983 we can appreciate more fully the huge impact of a choreographer whose creative life spanned 60 years, carrying the grand Russian classical style triumphantly into the modernist era, establishing one of the world’s leading companies—New York City Ballet—and giving America its own classical ballet tradition.

Graduating from the Petrograd Imperial School of Ballet in 1921 at age 17, Balanchine also studied piano and composition, and joined what is now the Mariinsky Ballet, where his first choreographies shocked the company’s traditionally-minded establishment. In 1924 he toured Germany with his own group of Soviet State Dancers until an audition for Diaghilev led to the Ballets Russes acquiring the talents of Balanchine, Tamara Geva (the first of his four ballerina wives) and Alexandra Danilova.

Within a year, he was appointed Chief Choreographer, creating 10 ballets for the company, notably Apollo (1928), which Balanchine later described as the great turning point in his life, and Prodigal Son (1929)—both constantly revived to this day.

After Diaghilev’s death in 1929 and the fragmentation of the Ballets Russes, Balanchine worked in Copenhagen, Paris and for René Blum’s Ballets Russes de Monte Carlo. It was in London during his directorship of Les Ballets 1933 that Lincoln Kirstein persuaded him to come to America, where they founded the American School of Ballet in New York (1934), out of which emerged The American Ballet (1935), Ballet Society (1946), and eventually the New York City Ballet (1948), initially based at City Center, until it moved in 1964 to its present home at Lincoln Center’s David H. Koch Theater, built to Balanchine’s specifications. During the 1930s and 1940s Balanchine also choreographed extensively for Broadway and the movies, including Rodgers and Hart’s On Your Toes and The Boys From Syracuse. He later married Maria Tallchief (1946-1952) and Tanaquil LeClercq (1952-1969), for whom he also created leading roles.

Balanchine’s ballets are notable in that his musical training enabled him to work closely with the music of Stravinsky, Prokofiev, Hindemith, Schoenberg, Webern—some of the greatest names of 20th century music—as well as reinterpret the music of the past: Bach, Mozart, Mendelssohn, Brahms, Tchaikovsky. One of the world’s greatest choreographers, he created a neoclassical aesthetic that connected the vigor of American modernism with the Russian ballet tradition. Balanchine now stands as a ballet colossus between America and Europe, his rich repertoire of ballets constantly performed and appreciated around the world.

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TOSHIRO MAYUZUMI Composer The Japanese composer Toshiro Mayuzumi was born in Yokohama in 1929 and studied at the Tokyo National University of Fine Arts immediately after the end of World War II, before travelling to Europe and continuing his music studies at the Paris Conservatoire. Initially enthusiastic about avant-garde European music (especially that of Edgard Varese), in 1957 Mayuzumi turned for inspiration to pan-Asian musical styles.

A prolific composer of over 100 film scores between 1951 and 1984 (his best-known is probably The Bible: In the Beginning, 1966), he also wrote two operas, The Golden Pavilion (premiered 1976 in Berlin) and Days of the Gods (premiered 1996 in Linz, Austria) and four ballets, starting with Balanchine’s Bugaku (1962) and ending with M (1996). Between his Rumba Rhapsody (1948) and Capriccio for Solo Violin & String Orchestra (1988), Mayuzumi also wrote many orchestral works including symphonies, tone poems and concertos, as well as string chamber works and pieces for wind band, many of which have been recorded by the Tokyo Kosei Wind Orchestra. In his earlier years, he also composed much electronic music. The recipient of a Suntory Music Award in 1996, Toshiro Mayuzumi died in 1997 in Kawasaki.

KARINSKA Costume Designer Originally named Varvara Jmoudsky, Karinska was born 1886 in Kharkov, Ukraine. Karinska remained in Russia after the Revolution, remarrying and managing a fashion house and embroidery school, but when these were nationalized, she moved to Brussels and then Paris. She began making costumes for cinema and ballet, notably the Ballet Russe de Monte Carlo and Les Ballets 1933 and marked the start of her long collaboration with Balanchine. Her career continued to flourish in London, where she moved in 1936, before settling in New York in 1939.

Karinska was a top costume-maker and designer, winning an Oscar for Joan of Arc (1948), a nomination for Hans Christian Andersen (1952) and the first Capezio Dance Award for Costume. In 1964 she accepted a permanent appointment making costumes for Balanchine’s New York City Ballet, from which she retired in 1977, dying at the age of 97 in 1993.

SANDRA JENNINGS Repetiteur Sandra Jennings was born in Boston, and began her training with June Paxman and later studied at Boston Ballet. Her training continued with a Ford Foundation Scholarship to the School of American Ballet. At SAB Jennings was trained by such greats as Alexandra Danilova, Felia Doubrovska and Stanley Williams. In 1974 she was invited by Balanchine to join the New York City Ballet and during her decade with the company she danced an impressive repertoire, including ballets by Balanchine, Robbins, Taras, d’Amboise, Ashton, Martins and Bournonville. In 1985 she became a repetiteur for The George Balanchine Trust and has staged over 30 ballets for companies worldwide. From 1993-2002 she was also Ballet Mistress for Pennsylvania Ballet and 2002-2006 for the San Francisco Ballet.

First Performed by New York City Ballet 30 March 1963 First Performed by The Sarasota Ballet 27 April 2018

The performance of Bugaku, a Balanchine® Ballet, is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style® and Balanchine Technique® Service standards established and provided by the Trust.

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MARGUERITE AND ARMAND A star vehicle created for the dazzling partnership of Margot Fonteyn and Rudolf Nureyev shortly after Nureyev’s arrival at The Royal Ballet, Marguerite and Armand was also a highlight of their farewell performances, and so hard was it to imagine anyone else in the title roles that for years afterwards, permission to stage the ballet was withheld. Happily, that has changed, and audiences can again appreciate Ashton’s interpretation of Dumas’ Romantic classic La Dame aux camélias, which also inspired Verdi’s La Traviata.

With Beaton’s elegant period costumes and Liszt’s piano sonata the perfect romantic score, Ashton movingly presents the essence of Dumas’ tragic tale of doomed love amidst the glamour of the 19th Century Parisian demi-monde. The intensity of the choreography was clear from the outset: Fonteyn recalled that rehearsals involved “a passion more real than life itself.”

In delirious flashbacks, as she lies dying of tuberculosis, Marguerite Gautier remembers her former days as a feted courtesan and the love of her life, Armand. We see the beautiful Marguerite, her heart untouched by her many amours, flirting with admirers, until she meets the young Armand and throws him a white camellia as she departs on the arm of her latest wealthy lover. Marguerite deserts her Paris life and rich protector for an idyllic love affair with Armand in the country, until his father persuades her to give up Armand for the sake of his family, which she does, without being free to explain her sacrifice. They dance a passionate farewell.

At a party in Paris, Armand angrily humiliates Marguerite, tearing from her the necklace presented by her protector, and contemptuously flinging money in her face before storming out. Alone, her friends, lovers and wealth all gone, Marguerite awaits death.

Armand arrives, having learned from his father the reason she ended their affair, and the lovers are ecstatically reunited as she dies in his arms. In this tragic romance, Ashton created a unique ballet of passionate intensity, a fitting tribute to its original stars.

Choreography by Music by

Sir Frederick Ashton Franz Liszt

Design by

Cecil Beaton

Staged by

Grant Coyle

Lighting Design by

Aaron Muhl

SIR FREDERICK ASHTON Choreographer Sir Frederick Ashton was born in Ecuador in 1904 and determined to become a dancer after seeing Anna Pavlova dance in 1917 in Lima, Peru. Arriving in London, he studied with Léonide Massine and later with Dame Marie Rambert (who encouraged his first ventures in choreography) as well as dancing briefly in Ida Rubinstein’s company (1928-1929).

A Tragedy of Fashion (in which he danced alongside Marie Rambert) was followed by further choreographies (Capriol Suite, Façade) until in 1935 he accepted Dame Ninette de Valois’ invitation to join her Vic-Wells Ballet as Dancer and Choreographer, his principal loyalty remaining with what would become the Sadler’s Wells and ultimately The Royal Ballet. Besides his pre-war ballets at Sadler’s Wells (which demonstrated an increasing authority, with larger resources), Ashton choreographed for revues and musicals. His career would also embrace opera, film and international commissions, creating ballets in New York, Monte Carlo, Paris, Copenhagen and Milan. During the War, he served in the RAF (1941-1945) before creating Symphonic Variations for the Sadler’s Wells Ballet’s 1946 season in its new home at Covent Garden, affirming a new spirit of classicism and modernity in English postwar ballet.

During the next two decades, Ashton’s ballets, often created around the talents of particular dancers, included: Scènes de ballet, Cinderella (1948), in which Ashton and Robert Helpmann famously played the Ugly Sisters, Daphnis and Chloe (1951), Romeo and Juliet (1955), and Ondine (1958). He created La Fille mal Gardée (1960) for Nadia Nerina and David Blair, The Two Pigeons (1961) for Lynn Seymour and Christopher Gable, Marguerite and Armand (1963) for Dame Margot Fonteyn and Rudolf Nureyev and The Dream (1964) for Dame Antoinette Sibley and Sir Anthony Dowell.

Appointed Associate Director of The Royal Ballet in 1952, Ashton succeeded Dame Ninette de Valois as Director from 1963 to 1970, and under his direction the company rose to new heights, while his choreographic career continued with Monotones II (1965), Jazz Calendar, Enigma Variations (1968), A Month in the Country (1976) and the popular film success The Tales of Beatrix Potter (1971) in which he performed the role of Mrs. Tiggy-Winkle. He was knighted in 1962.

Named Founder Choreographer of The Royal Ballet, Sir Frederick Ashton died in 1988. His ballets, which remain in the international repertory undiminished, show a remarkable versatility, a lyrical and highly sensitive musicality. He had an equal facility for recreating historical ballets and creating new works. If any single artist can be said to have formulated a native English classical ballet style and developed it over a lifetime, it is Sir Frederick Ashton.

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FRANZ LISZT Composer Like Mozart, Franz Liszt was the precociously talented son of a musician in the service of a great aristocrat, in this case the Hungarian Prince Esterhazy. Born in 1811, he became the most celebrated piano virtuoso of his day, as well as a much admired teacher, conductor and composer. He also encouraged the careers of such other composers as Wagner, Berlioz, Grieg, Saint-Säens and Borodin.

In Vienna, the young Liszt studied piano with Czerny and composition with Salieri. By the age of nine he was giving concerts and composing. In 1827, on his father’s death, Liszt lived with his mother in Paris, teaching, belatedly educating himself by reading and meeting leading authors and artists. Inspired by hearing Paganini play, in 1832 Liszt launched himself as virtuoso concert pianist, and for 20 years toured Europe to triumphant acclaim, giving much of his fees to charities.

From 1833-1839, he lived with the married Countess Marie d’Agoult. Two of their children died, in 1859 and 1862, and the third, Cosima, later married Richard Wagner. In 1847, at the age of 35, he met the married Princess Carolyne zu Sayn-Wittgenstein, who persuaded him to retire from concert work, settle in Weimar and concentrate on composing. In later life, Liszt took minor orders of the priesthood and, known as the Abbé Liszt, divided his time between Rome, Weimar and Budapest. He died at Bayreuth in 1886.

CECIL BEATON Designer Born in 1904, the son of a wealthy London timber merchant, Cecil Beaton was a high-style fashion, portrait and war photographer, a painter, interior decorator, diarist and award-winning stage and costume designer. Educated at Harrow and Cambridge, he learned photography with his nanny’s Kodak, and, with the keen patronage of Osbert Sitwell, established himself as a successful photographer in the 1930s, with a lucrative Condé Nast contract for Vogue and Vanity Fair.

His iconic photo-portraits included Hollywood stars and the British Royal Family, while his war photographs for the British Ministry of Information made a great impact.

After the war, Beaton’s stage and film designs won Tony awards for Quadrille, My Fair Lady, Saratoga and Coco on Broadway, and Oscars for the films Gigi and My Fair Lady. He was awarded CBE (1956), Légion d’Honneur (1960), and knighted in 1972. After a stroke ended his active career in 1974, Beaton auctioned his photography archive and died in 1980. Six volumes of his diaries covering 1922 to 1974 were published in his lifetime. A confirmed bachelor, Beaton lived in some style, entertaining friends at his Wiltshire country homes—Ashcombe (1930-1948) and Reddish (1948-1980). Beaton and Sir Frederick Ashton were friends from the 1920s.

GRANT COYLE Repetiteur Born in Australia, Grant Coyle danced with companies in Australia and Germany before moving to London, where he trained at the Benesh Institute of Choreology. After graduating he worked as a Dance Notator with Scottish Ballet and the Sadler’s Wells Royal Ballet before joining the Covent Garden Royal Ballet as its Principal Notator. He has worked with many choreographers, including Balanchine, MacMillan, Ashton, Peter Darrell and David Bintley, reproducing ballets for many companies around the world. In 2004 Grant Coyle became a Repetiteur for The Royal Ballet, leaving in 2013 to pursue a freelance career. In 2008 he was made a Fellow of the Institute of Choreology.

First Performed by The Royal Ballet 12 March 1963 First Performed by The Sarasota Ballet 20 November 2015 W W W.S A R A S OTA B A L L E T. O R G | 941.359.0099

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LIVE MUSIC “ I T I S M U S I C A N D D A N C I N G T H AT M A K E M E AT P E A C E W I T H T H E W O R L D.” - NELSON MANDELA

ORMSBY WILKINS | Music Director - American Ballet Theatre Conducting this Season Metropolitan and Dreams of Nature

A native of Sydney, Australia, Ormsby Wilkins, after taking his music studies at the Conservatories of Sydney and Melbourne, joined The Australian Ballet and became resident conductor in 1982. Moving to Europe in 1983, he was appointed conductor with England’s Sadler’s Wells Royal Ballet (now called the Birmingham Royal Ballet). In 1990 Wilkins became the Music Director of The National Ballet of Canada where he spent 16 years until moving to New York to join American Ballet Theatre as Music Director.

Throughout his career, international engagements have included La Scala, Milan, the Rome Opera Ballet, the Ballet of Teatro San Carlo of Naples, the Australian Ballet, the San Francisco Ballet, the Hong Kong Ballet and the Royal Swedish Ballet.

Wilkins continues to conduct regularly for The National Ballet of Canada—most recently for John Neumeier’s Nijinsky—and he is delighted to have been asked to conduct for The Sarasota Ballet, with the highlight being the extraordinary Ashton Festival in 2014.

Wilkins has conducted many orchestras around the world, both in association with ballet and in concert. They include the Philharmonia and Royal Philharmonic Orchestras of London, the Royal Opera House Orchestra, Winnipeg Symphony, Calgary Philharmonic, Edmonton Symphony, Hong Kong Philharmonic, Tokyo Philharmonic and National Arts Centre Orchestra, Ottawa.

Apart from conducting for ABT’s regular seasons at the Metropolitan Opera House in New York City, Wilkins has toured widely around the United States with ABT as well as on its extensive overseas engagements to such cities as London, Paris, Havana, Tokyo, Beijing, Seoul, Oman, Brisbane and Barcelona.

BARRY WORDSWORTH | Principal Guest Conductor of The Royal Ballet Conducting this Season Great Masters of Dance

Barry Wordsworth has a long relationship with The Royal Ballet, having first been appointed as Assistant Conductor to the touring orchestra in 1972. In 1973 he became Principal Conductor of Sadler’s Wells Royal Ballet and served as Music Director of The Royal Ballet from 1990-1995 and again from 2006-2015, after a middle period with Birmingham Royal Ballet. He recently became Music Director Laureate of Birmingham Royal Ballet, and he has appeared as a guest conductor for ballet companies around the world, including Tokyo Ballet, Leipzig Ballet and Paris Opera Ballet. He was appointed to Principal Guest Conductor at the start of The Royal Ballet’s 2015-2016 season.

Wordsworth was born in Surrey in 1948 and his first experience of conducting was Handel’s Messiah at school. At 13 he won a scholarship to Trinity College of Music, followed by a scholarship to the Royal College of Music, where he studied with Adrian Boult. Wordsworth has had a distinguished parallel career as a symphonic conductor. He has appeared with many of the world’s leading orchestras, including the Philharmonia Orchestra, London Symphony Orchestra, Royal Philharmonic Orchestra, Royal Concertgebouw Orchestra, Toronto Symphony, Sydney Symphony and New Zealand Symphony. In 2006 he was appointed Conductor Laureate of the BBC Concert Orchestra, having been Principal Conductor for many years. He has conducted at every BBC Proms season since 1989 and in 1993 conducted the Last Night of the Proms.

Wordsworth’s extensive discography includes discs of Tchaikovsky and Elgar with the Royal Philharmonic Orchestra and Grammy Award-winning recordings with Bryn Terfel and the London Symphony Orchestra for Deutsche Grammophon. In 2003 he was the first conductor to record commercially all nine surviving movements of Constant Lambert’s ballet Horoscope (only a suite of five movements had previously been recorded). Wordsworth holds honorary doctorates from the University of Brighton and the University of Central England in Birmingham, and is an Honorary Fellow of Trinity College of Music in London.

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LIVE MUSIC “ T H E O N LY LO V E A F FA I R I H AV E E V E R H A D WA S W I T H M U S I C .”

- M AU R I C E R AV E L

ANDREW LANE | Principal Pops Conductor - Sarasota Orchestra Conducting this Season John Ringling’s Circus Nutcracker

Maestro Andrew Lane dynamically leads the musicians of the Sarasota Orchestra in Pops and other special concerts throughout the season. Lane’s Pops concerts have featured many notable performers including Branford Marsalis, Doc Severinsen, Sylvia McNair and Broadway superstar Davis Gaines. He has also worked with such diverse artists as Arturo Sandoval, Deborah Gibson, Peter Schickele, Roy Scheider, Greek tenor Mario Frangoulis and Joey Fatone from *NSYNC. Lane formerly served as resident conductor and principal pops conductor of the Orlando Philharmonic for almost two decades and he was credited with helping to shape the public perception of the Philharmonic as an artistically relevant performing group that is user-friendly. He also garnered rave reviews from The Orlando Sentinel, “Andrew Lane’s concert program was perfect for the evening” and “The concert was as pleasing as it was Patriotic.”

His popularity as a guest conductor flourished and he has been a featured conductor with several orchestras nationally. His list of accomplishments is formidable and includes having recorded Aaron Copland’s Lincoln Portrait narrated by Bernard Shaw with the Orlando Philharmonic. He was also instrumental in launching the Orlando Philharmonic’s Young People’s Concerts, which served more than 250,000 school children, and he conducted a Family Concert Series, where his unique programming created a concert experience that awakened the curiosity and awareness of orchestral music.

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941.349.9212 • 800.338.5983 www.flowersbyfudgie.com

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Live Music Season Sponsors The Sarasota Ballet Would Like To Thank Those Whose Contributions Bring Live Music To So Many Of This Season’s Performances

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EXPERIENCE THE EXTRAORDINARY

The 2018 winter opera festival

Verdi’s

Nov 3–21

La traviata

fall 2017

Victor DeRenzi, Artistic Director Richard Russell, Executive Director

PUccini’s

A sarasota Youth Opera World Premiere Rachel J. Peters’ Nov 11 and 12

Rootabaga country

Feb 10–Mar 23

Manon Lescaut Bizet’s

All operas performed in the original language with English translations projected above the stage.

Feb 17–Mar 24

Carmen Bellini’s

Mar 3–24

Norma d’albert’s

Mar 10–25

Tiefland

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SARASOTA

FOOT CARE CENTER PA Board Certified American Board of Foot and Ankle Surgeons Podiatric Consultants for The Sarasota Ballet since 1994

Paul G. Yungst,

DPM, DABFAS

Robert Frimmel, Craig Conti,

DPM, DABFAS

DPM, DABFAS

Candice Kepich,

DPM, DABFAS

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941-917-6232

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Live Music Endowment Fund This Season, The Sarasota Ballet will have Live Music accompany our dancers for the majority of our productions.

The Charter Members funded the Live Music Endowment and they are joined by the following donors who share the vision of more Live Music performances.

Gerri Aaron Barbara Arch Jerry and Gay Bowles Sylvia Cohodas Friends of The Sarasota Ballet Wanda Garofalo Jacqueline Giddens Sydney and Jerome Goldstein Marlene M. Kitchell Lydia Landa

Ruth Lando Howard and Susan Levin Melvy Lewis Marsha Roth Skip and Gail Sack Paul and Sharon Steinwachs Sora Yelin in Loving Memory of Cary F. Yelin Bob and Jeanne Zabelle

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La k e h o u s e We s t Lak R E T I R E M E N T

E S T A T E

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2017

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3435 Fox Run Road | Sarasota, FL 34231 www.lakehousewest.com Lic.#AL5850

UPCOMING EVENTS 2017–2018 November 5

Federation Celebration

December 4

Women’s Day

Honoring our volunteers Featuring Aly Raisman

Newcomers Event January 14 We Love Israel Shuk January 11

Featuring Megemeria Jewelry

January 28

International Holocaust Remembrance Day

Honoring the Italian community

Get complete information and purchase tickets as they become available:

jfedsrq.org/events CELEBRATE WITH US

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Ethiopian-Israeli Hip Hop Concert February 26 Israeli Chef Dinner February 17

Featuring Chef Einat Admony

March 8-18 March 11

9th Annual Jewish Film Festival Happy Birthday Israel

April 15

Yom Ha’atzmaut Celebration

Featuring a dance performance and musical band

THE SARASOTA BALLET ADMINISTRATIVE DEPARTMENT

MARJORIE A. FLOYD

KRISTIE COX

ED LEVESQUE

Marketing & Development Director 941.359.0099 x 104 mfloyd@sarasotaballet.org

Finance Director

Company Manager

941.359.0099 x 121 kcox@sarasotaballet.org

941.359.0099 x 107 elevesque@sarasotaballet.org

JASON W. ET TORE

ANNA PASSALAQUA

Design & Communication Development Officer Manager, British Ballet Archivist 941.359.0099 x 105 941.359.0099 x 113 jettore@sarasotaballet.org apassalaqua@sarasotaballet.org

ROD KELLY

NGOC PHAN

Box Office and House Manager 941.359.0099 boxoffice@sarasotaballet.org

Events and Special Projects Coordinator 941.359.0099 x 110 nphan@sarasotaballet.org

JACOB DUVALL

REBECCA GUTHERZ

JUAN GARCIA

BARBARA EPPERSON

Media and Graphic Design Associate 941.359.0099 x 128 jduvall@sarasotaballet.org

Administrative Assistant Finance 941.359.0099 x 100 rgutherz@sarasotaballet.org

Assistant to the Company Manager 941.359.0099 x 115 jgarcia@sarasotaballet.org

Administrative Assistant, Board Liaison 941.359.0099 x 109 bepperson@sarasotaballet.org

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THE SARASOTA BALLET PRODUCTION DEPARTMENT

BILL ATKINS

JERRY WOLF

AARON MUHL

Technical Director 941.359.0099 x 114 batkins@sarasotaballet.org

Head of Wardrobe 941.359.0099 x 118 jwolf@sarasotaballet.org

Lighting Designer 941.359.0099 x 114

MARK NOBLE

ZARA BAROYAN

Stage Manager 941.359.0099 x 116 mnoble@sarasotaballet.org

Pianist 941.359.0099 x 114

Photography in the 2017 - 2018 Season Program Book

Frank Atura

Dance Photography

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THE SARASOTA BALLET EDUCATION DEPARTMENT CHRISTOPHER HIRD |

Director of Education

Christopher Hird is from England and studied at The Royal Ballet School. He toured Europe as part of a company headlined by the internationally acclaimed Ballerina Sylvie Guillem. After retiring from the stage, Hird worked as the Assistant to the Director of the British Ballet Organization, and later as Assistant to the Development Manager at The Royal Ballet School. He earned a Bachelor of Arts in Dance from the University of Roehampton and a Diploma from Canada’s National Ballet School’s Teacher Training Program.

Hird joined Boston Ballet School in 2003 and was promoted to Artistic Manager and Head of Adult Programing in 2009. He was a main teacher for students in the Pre-Professional and Classical Ballet Programs as well as part of the Senior Leadership Team.

Hird has served on the international jury of the Japan Grand Prix in 2008 and 2010, the Surrey Festival of Dance (Canada) in 2007 and 2008, the Goiania Dance Festival (Brazil) in 2012 and 2015 and the Connecticut Classic in 2012. He has been a guest teacher for Alvin Ailey American Dance Theater, Canada’s National Ballet School, Academy of Nevada Ballet Theatre, Cecchetti Council of America and Harvard University.

The Sarasota Ballet appointed Christopher Hird as Director of Education and Principal of The Margaret Barbieri Conservatory in July 2016. During his first year, Hird expanded the visibility of the Education Programs, with performances at Selby Gardens, Inspire Sarasota and Sarasota Bay Club among others. He has enhanced the Margaret Barbieri Conservatory, and developed the Adult Program to offer more opportunities for students. Hird also oversees the new Studio Company, and is looking forward to presenting the dancers at events in the local community.

LISA TOWNSEND

MARLENA ABAZA

ISABEL DUBROCQ

PATRICIA STRAUSS

DAVID TLAIYE

Dance – The Next Generation Program Director

Head of Middle Division

Full Time Faculty

Full Time Faculty

Full Time Faculty

941.359.0099 x 122 mabaza@sarasotaballet.org

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941.359.0099 x 120 pstrauss@sarasotaballet.org

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ELIZABETH WEIL BERGMANN

OCTAVIO MARTIN

TINA TAYLOR

DAVID EICHLIN

Studio Company Part Time Faculty

Studio Company Part Time Faculty

Education Administrator

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941.359.0099 x 120

DNG Enrichment Coordinator 941.359.0099 x 125 deichlin@sarasotaballet.org

941.359.0099 x 120 ttaylor@sarasotaballet.org

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“I DO NOT TRY TO DANCE BETTER THAN ANYONE ELSE. I ONLY TRY TO DANCE BETTER THAN MYSELF.�

MIKHAIL BARYSHNIKOV Directed by Margaret Barbieri, Assistant Director of The Sarasota Ballet, the Conservatory is a pre-professional program designed to prepare students for a career in classical ballet. Led by Principal Christopher Hird, the Conservatory has an exceptional instructional staff committed to excellence and providing the highest quality dance education.

Students ages 11-19 are accepted by audition only and receive a carefully planned curriculum with small class sizes, allowing for individual attention. Their knowledge of the art form is nurtured by master classes from visiting guest teachers and professional development lectures. A wellness team provides valuable support to the students. Housing and academic options are also available.

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“I DON’T WANT PEOPLE WHO WANT TO DANCE, I WANT PEOPLE WHO HAVE TO DANCE.” GEORGE BALANCHINE Graduate students are now performing with The Sarasota Ballet, Milwaukee Ballet, Eugene Ballet as well as being accepted to top local and national universities.

The Conservatory has a strong relationship with The Sarasota Ballet. All students attend Company productions and also receive opportunities to perform with the Company in productions such as John Ringling’s Circus Nutcracker and The Dream.

A brand-new facility was opened in 2015 and offers a supportive and nurturing environment for students to realize their dream of a professional career in classical ballet.

THE MARGARET BARBIERI CONSERVATORY FACULTY CO N S E R VATO R Y P R I N C I PA L Chr istopher H ird C L A S S I C A L B A L L E T, PA S D E D E U X A N D R E P E R TO I R E Isabel Dubrocq O c tavio M ar tin Patr ic ia Strauss David Tlaiye MODERN Elizabeth Weil B ergmann P I L AT E S A N D CO N D I T I O N I N G M ar iah Cohen David Tlaiye B A L L E T H I S TO R Y J ason W. Ettore PA S T V I S I T I N G T E AC H E R S F R O M T H E 2016 - 2017 S E A S O N Kathleen Mitchell, Sarah Wroth – Boston Ballet Theresa Crawford – Central Pennsylvania Youth Ballet Linda Giancaspro – New England Ballet Company Jeanne Ruddy – Martha Graham Dance Company Madelyn Ho - Paul Taylor Dance Company W W W.S A R A S OTA B A L L E T. O R G | 941.359.0099

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Sarasota Concert Association • 2018

GREAT PERFORMERS SERIES Bringing You World Renowned Musicians

Royal Philharmonic Orchestra Jan. 11 • 7:30 p.m. • Van Wezel

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WE TEACH THEM TO DANCE. YOU CAN HELP THEM FLY. MERIT BASED SCHOLARSHIPS ARE MADE POSSIBLE T H R O U G H G E N E R O U S D O N AT I O N S F R O M I N D I V I D UA L S A N D F O U N D AT I O N S .

Scholarships provide opportunities for aspiring dancers from around the world to train with us under the direction of Margaret Barbieri, a world-renowned Prima Ballerina with The Royal Ballet, and Assistant Director of The Sarasota Ballet.

Conservatory Principal Christopher Hird and an exceptional instructional staff including ballet masters and guest teachers, join world-class full-time teaching artists to provide the highest quality education and develop a life-long love of dance.

“Through my support of the Conservatory, I am able to help dreams come true while ensuring the future of ballet for many years to come.”

Michael Zuckerberg

“As enthusiastic lovers of ballet, we know the future of this art form rests in the continuing training of new dancers.

We are happy to support the excellent programs provided by the Margaret Barbieri Conservatory. We have seen first-hand the quality of their instructors and the dancers they produce. We feel money spent on the future of dance is money well spent and wish the Conservatory continued success.”

Ed Town and Steve Rubin “Ballet is the expression of color, love, emotion and hope.

It is so versatile and gives voice to the soul. I support pre-professional student scholarships so there will be ballet in the future. Now more than ever, we need ballet to feel the universality of love and humanity.”

Anonymous Donor

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Manage wealth wisely, and the rewards are timeless.

Karen Lane, Wealth Advisor 1800 2nd Street, Suite 101 • Sarasota FL 34236 941-225-4267 • Karen.Lane@BBandT.com

BB&T Wealth is a division of Branch Banking and Trust Company, Member FDIC. Only deposit products are FDIC insured.

Investment solutions are provided by Branch Banking and Trust Company and BB&T Investment Services, Inc., a wholly owned broker-dealer subsidiary of Branch Banking and Trust Company, Member FINRA/SIPC. Securities and investment products or services are: not a deposit, not FDIC insured, not insured by any federal government agency, may go down in value, not guaranteed by the bank. © 2016, Branch Banking and Trust Company. All rights reserved.

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www.sarasotabooks.com Full-Service Bookstore √ Special Orders √ Author Events √ On-Line Shopping Option Sarasota’s independent bookstore

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“WE SHOULD CONSIDER EVERY DAY LOST ON WHICH WE HAVE NOT DANCED AT LEAST ONCE.” FRIEDRICH NIETZSCHE

The Sarasota Ballet School provides a comprehensive dance education, while inspiring a life-long love of dance. Through a progressive curriculum, our experienced professional faculty foster each student’s individual development. Students also have the opportunity to attend Company performances and audition for productions by The Sarasota Ballet, such as John Ringling’s Circus Nutcracker.

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“THE TRUEST EXPRESSION OF A PEOPLE IS IN ITS DANCE AND IN ITS MUSIC. BODIES NEVER LIE.” AGNES DE MILLE

The Sarasota Ballet School offers exceptional dance training for all ages: Children’s Division - Ages 3 - 7: Develops coordination, musicality, spatial awareness and imagination through an age-appropriate curriculum.

Middle Division – Levels 1-4, Ages 8 - 12: Develops a foundation of classical ballet, along with an opportunity to study and enter for examinations with the Royal Academy of Dance (RAD).

Upper Division – Levels 5-6, Ages 12-19: Allows students to develop their artistry and technique in classical ballet, along with other dance styles including modern and musical theater.

The Margaret Barbieri Conservatory – Once students have completed Level 4, they are eligible to audition for The Margaret Barbieri Conservatory.

THE SARASOTA BALLET SCHOOL HEAD OF MIDDLE DIVISION M ar lena Abaza C L A S S I C A L B A L L E T, PA S D E D E U X A N D R E P E R TO I R E Isabel Dubrocq Linda Giancaspro Sarah K razit O c tavio M ar tin Alice M ur phy Sara S cherer David Tlaiye M O D E R N A N D S P E C I A LT Y D A N C E Er in Fletcher M ia R edding P I L AT E S M ar iah Cohen

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“EDUCATION IS THE MOST POWERFUL WEAPON WHICH YOU CAN USE TO CHANGE THE WORLD.” NELSON MANDELA Dance – The Next Generation (DNG) is a ten-year, full scholarship dance program designed for students who are considered at-risk of dropping out of school. The aim of the program is to introduce students to the joy and expression of movement through a variety of dance styles, including Ballet, Jazz, Elements of Dance and Dance Composition, and through the discipline inherent in dance, to help each student reach his or her full potential.

Our brand-new facilities feature 3 fully equipped dance studios, 2 classrooms and a computer lab where they receive educational support from dedicated volunteers.

Every student who completes the program and is academically qualified is eligible to apply for a scholarship at the State College of Florida, Manatee-Sarasota, or University of South Florida Sarasota-Manatee.

DNG has been awarded the “Coming Up Taller” award from the President’s Committee on the Arts and the Humanities. It has also been recognized by the Sarasota County School Board as a drop-out prevention program.

We Partner With Organizations To Make Dance – The Next Generation A Reality.

Please Join Us In Thanking The Following Organizations:

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“WE’RE FOOLS WHETHER WE DANCE OR NOT, SO WE MIGHT AS WELL DANCE.” J A PA N E S E P R O V E R B

Each year, we accept 40 to 50 new students into the DNG program.

We provide each student with ballet clothes and shoes.

Students who have completed the program have gone on to study at universities around the nation and have become professionals in all walks of life, from dancers to dentists, paralegals to historians.

DANCE – THE NEXT GENERATION FACULTY P R O G R A M D I R E C TO R Lisa Townsend CLASSICAL BALLET Lisa Townsend O c tavio M ar tin

With our 3 colorfully wrapped vans, underwritten by very generous donors, we are able to offer participating elementary school students transportation from their school to the studios.

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JAZZ, ELEMENTS OF DANCE, A N D D A N C E CO M P O S I T I O N Er in Fletcher B enjamin Howe M ia R edding K eely S chutz-Henr y

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ANYONE WHO STOPS LEARNING IS OLD, WHETHER AT TWENTY OR EIGHTY. ANYONE WHO KEEPS LEARNING STAYS YOUNG. HENRY FORD

ADULT PROGRAM

The Sarasota Ballet offers a continuing education program for adults of all ages. From drop-in classes to workshops and special opportunities to connect with The Sarasota Ballet Company, there is something for everyone.

I N T R O TO B A L L E T CO U R S E

Designed for complete beginners or those who are returning to ballet after a break. A five-week progressive course for all ages.

A D U LT O P E N C L A S S E S

From Beginner to Intermediate, the open classes allow you the flexibility to drop in whenever you like. Classes are offered in both ballet and modern dance.

WEEKEND WORKSHOP

A special opportunity for adult students to dance over a long weekend, learn repertoire from The Sarasota Ballet and attend a Company performance. Workshops this season are held in October and March.

A D U LT P R O G R A M FAC U LT Y Chr istopher H ird Elizabeth Weil B ergmann Linda Giancaspro O c tavio M ar tin Lisa Townsend

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T H E P E R L M A N M U S I C P R O G R A M /S U N COAST

Celebrating WORLD CLASS

music

right in your backyard!

2017-18 Season Events:

Your Source for Arts and Culture

DECEMBER 21 - JANUARY 6

u ADVOCACY u u EDUCATION u u FUNDING u

Free musical events: rehearsals, recitals & more!

Jan. 4: Celebration Concert

Become a member and let your voice be heard! www.sarasotaarts.org 941.365.5118, ext. 304

PMP Sarasota Winter Residency

NOVEMBER 2017 - APRIL 2018

PMP Alumni: Around Town at community venues

941-955-4942 • PMPSuncoast.org

Exceptional TRAINING Exceptional RESULTS in COSMETIC DERMATOLOGY

The ART of the NATURAL LOOK™ Elizabeth F. Callahan, M.D.

At SkinSmart Dermatology

Cleveland and Mayo Clinics Trained Castle Connolly Top Doctor Since 2011

5911 N. Honore Ave., Suite 210 | Sarasota, FL 34243 941.308.7546 | SarasotaDermatologist.com

OUTREACH E nr i c h

Eng a g e

Ed u c ate

The Sarasota Ballet prides itself on making the arts accessible to as many people as possible in the local community. Whether it’s bringing children in to see our School Matinees or performing at community events we reach thousands of people of all ages each year.

Director of Education Christopher Hird leads our community outreach programming and can be reached at 941.255.6524.

SCHOOL MATINEES Every October, more than 1600 students from Sarasota and Manatee County Schools attend a performance at the FSU Center for the Performing Arts. Tickets and transportation for the students is provided entirely by The Sarasota Ballet.

TEA AND TUTUS One of the highlights of the season is the annual Tea & Tutus party where children dress up for a day at The Sarasota Ballet School and a fabulous high tea. Party-goers see a brief performance, learn about ballet from dancers and have a chance to dance on the stage. It is a sweet introduction to the study of ballet and a wonderful way for parents and children to make a memory.

PERFORMING IN THE COMMUNITY Students from The Margaret Barbieri Conservatory appear at local community events gaining performance experience and giving back to the community. Last Season students performed at the annual Inspire Sarasota event at Five Points Park; at University Town Centre Mall in collaboration with Talbot’s, and at Ovation, Lakewood Ranch.

The Conservatory was thrilled to be asked to perform as part of Selby Gardens Chagall Nights in April 2017. More than 250 guests enjoyed a mix of ballet and modern dance including a world premiere created by Elizabeth Weil Bergmann. Danced to specially composed music

by Tony-nominated composer Steve Orich, Promenade was inspired by Chagall paintings Orich had recently seen. In 2018, we will be back at Warhol Nights on April 11.

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OUTREACH E nr i c h Pho tog rap hy C

liff Ro le

Engage

Educate

s

EDUCATION FOR ALL Knowledgeable and engaging speakers from The Sarasota Ballet appeal to audiences of all ages and with varying levels of understanding about ballet. Last Season Director of Education Christopher Hird was the guest speaker for Manatee County Schools Inservice Training Day where he spoke to the county’s dance teachers and taught a ballet class for local students.

Pierian Spring Academy invited Christopher to teach a five-week course, “10 years of Director Iain Webb,” to retirees and seniors. The Sarasota Ballet Education Department also partnered with The Sarasota Bay Club and Girls Inc., as part of their intergenerational program. Students from the International Intensive brought the younger girls on stage to try on tutus and experience ballet first-hand.

THANK YOU We would like to extend our grateful thanks to all our local partners and look forward to continuing our relationship with you: Our Many Community Partners • Any Given Child • Community Aids Network • Culture Collective • Designing Daughters • Designing Women • Ed Explore • Girls, Inc.

• The Glenridge • Lakehouse West • Leadership Sarasota County • Manatee County Schools • Ovation - Lakewood Ranch

• Pierian Spring Academy • Plymouth Harbor • Sarasota Bay Club • Sarasota County Schools • Sarasota Downtown Alliance

W W W.S A R A S OTA B A L L E T. O R G | 941.359.0099

• Sarasota Memorial Health Care Foundation • Selby Gardens • Westminster Towers • Yale Club • Young Professionals Group • UTC - Talbots

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• New College and the Andrew W Mellon Foundation: Connecting the Arts and Humanities on Florida’s Creative Coast

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Audit | Compliance | Tax Dianne Kopczynski, CPA, CIA dkopczynski@mjcpa.com

941-747-4483 | mjcpa.com 1401 Manatee Avenue W | Ste 1200 Bradenton, FL 34205

Congratulations Sarasota Ballet!

Advice. Beyond investing.

The Parker-Harrigan Group W. Scott Parker Sr Vice President--Wealth Mgmt 401 East Las Olas Boulevard, Suite 2300 Fort Lauderdale, FL 33301 954-527-6337 scott.parker@ubs.com

Alison M. Gardner Senior Vice President – Financial Advisor Senior Portfolio Manager (941) 316-4817 | Toll free (844) 316-4817 alison.gardner@rbc.com www.rbcwmfa.com/alisongardner

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2:25 PM

EAR, NOSE & THROAT FYZICAL HEALTH

8451 Shade Avenue, #107 Sarasota, Fl. (941) 355-2767

941.923.7489 www.PeterIsBoring.com

Now Offering Extended Evening and Saturday Hours

Securities and advisory services are offered through Harbor Financial Services, LLC

INTERNATIONAL CHAMBER MUSIC FESTIVAL

Sources of Inspiration

Concert Series April 9-18 Sarasota Opera House The finest musicians of Europe, Asia and the Americas present both familiar and unusual chamber music.

Open Rehearsals April 7-17 Sainer Pavilion Discover how notes come together to form a musical masterpiece and how musicians make this happen.

Meet the Musicians April 11 Dolphin Aviation Mingle with the musicians and enjoy a mini concert. Wine and light bites are served.

LaMusicaFestival.org

941-366-8450 ext. 7

DOCTOR’S CIRCLE 2017 - 2018 S E A S O N

ACUPUNCTURE

EAR, NOSE & THROAT

ORTHOPAEDICS

Filipp A. Gadar, A.P.D.O.M 3205 Southgate Circle, Suite 18 Sarasota, FL 34239 941.735.6786

Arthur Schwartz, MD University Ear, Nose & Throat 8451 Shade Avenue, #107 Sarasota, FL 34243 941.355.2767

Dr. Patrick O’Neill Kennedy–White Orthopaedic Center 6050 Cattleridge Drive Sarasota, FL 34232 941.365.0655

CHIROPRACTIC Dr. Jared A. Winters Florida Chiropractic & Rehabilitation Clinics 1918 Robinhood Street Sarasota, FL 34231 941.955.3272 Dr. Lars Eric Larson 3560 S Tuttle Avenue Sarasota, FL 34239 941.363.6744

Dr. John T. Moor Advanced Sports Medicine Center 2446 S Tamiami Trail Sarasota, FL 34239 941.957.1500

EYES Dr. Susan M. Sloan 500 S Orange Avenue Sarasota, FL 34236 941.365.4060

PHYSICAL THERAPY

INTERNAL MEDICINE

Fane Sigal, MPT Bodywise Physical Therapy 436 S Tamiami Trail Osprey, FL 34229 941.375.8624

Dr. Bart Price 1250 S Tamiami Trail, Suite 301 Sarasota, FL 34239 941.365.7771

DENTAL Dr. Peter Masterson Lakewood Ranch Dental 6270 Lake Osprey Drive Sarasota, FL 34240 941.907.8300

Fyzical 5922 Cattlemen Lane Sarasota, FL 34232 941.313.3383

MASSAGE Bonnie Duncan, LMT 7725 Holiday Drive Sarasota, FL 3421 941.879.2306

DERMATOLOGY Dr. Elizabeth Callahan SkinSmart Dermatology 5911 N Honore Avenue, #210 Sarasota, FL 34243 941.308.7546 Dr. Erin Long Intercoastal Medical Group 3333 Cattlemen Road Sarasota, FL 34232 941.379.1799

PODIATRY Dr. Robert Goecker West Coast Podiatry Center 1961 Floyd Street, Suite D Sarasota, FL 34239 941.366.2627

NEUROLOGY Dr. Daniel Stein 5602 Marquesas Circle, Suite 108 Sarasota, FL 34233 941.400.1211

Dr. Robert F. Herbold 4717 Swift Road Sarasota, FL 34231 941.929.1234

OCULOFACIAL SURGERY Dr. Holly Barbour 1250 S Tamiami Trail, Suite 302 Sarasota, FL 34239 941.951.2220

DIAGNOSTIC SERVICES Partners Imaging Center of Sarasota 1250 S Tamiami Trail, Suite 103 Sarasota, FL 34239 941.951.2100 DIAGNOSTIC SERVICES CONTINUED

ORAL AND MAXILLOFACIAL SURGERY

Dr. Paul Yungst 1921 Waldemere Street, Suite 106 Sarasosta, FL 34239 941.917.6232

Todd J. Reuter, DMD, MD Sarasota Oral & Implant Surgery 2130 S Tamiami Trail Sarasota, FL 34239 941.365.3388

Sarasota MRI 2 N Tuttle Avenue Sarasota, FL 34237 941.951.1888

These physicians have agreed to see our dancers immediately and treat them at a substantially reduced fee or no fee at all. To show your appreciation, please consider using their services when you may have the need.

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FRIENDS OF THE BALLET 2017 - 2018 S E A S O N

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FOR SOME OF US, APPLAUDING THE ACHIEVEMENTS OF THE SARASOTA BALLET AT PERFORMANCES IS ONLY A BEGINNING...

Photography Shirley Blair

“

Photography Shirley Blair

GET CLOSER, GET INVOLVED.

SHOWCASE LUNCHEONS AND EVENTS

As ambassadors, the Friends of The Sarasota Ballet share in the achievements of the Company through their volunteer work. Each Season their events and volunteer opportunities allow you to participate in the growth of the Company and develop a keener understanding and appreciation of the art form.

Luncheons and events are held by the Friends in a variety of locations and are open to both members and guests.

Each luncheon and event features a program designed to enhance your understanding of the inner workings of the Company and, in addition, give you the opportunity to interact with other people who share your enthusiasm for The Sarasota Ballet.

The Friends dedicate all proceeds from the Showcase Luncheons and Special Events to The Sarasota Ballet.

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FRIENDS OF THE BALLET 2017 - 2018 S E A S O N

VOLUNTEER OPPORTUNITIES DANCERS’ SUPPERS The Friends provide food for the dancers during performance weekends.

This is an extremely satisfying way that the Friends can support the Company.

BOX OFFICE Friends work regular shifts to help the Box Office Manager. If you have computer skills and the telephone is your friend, this too is a very rewarding opportunity.

TOUR GUIDES Friends serve as tour guides for the “Backstage at the Ballet” tours. This gives you the opportunity to delve even deeper into what makes The Sarasota Ballet so successful and to transmit that knowledge to an enthusiastic audience.

MENTORING Dance – the Next Generation (DNG) is a highly acclaimed dropout prevention program for at-risk students. Youngsters who complete this 10-year program, headed by Program Director Lisa Townsend, are eligible for full four-year college scholarships. Friends provide support by assisting with homework, serving snacks, and mentoring students who take advantage of the discipline of dance to excel in life.

For more information contact friends@sarasotaballet.org 941.228.9899

DANCE IS JOY, DANCE IS LOVE. DANCE IS WHAT DREAMS ARE MADE OF.

EXECUTIVE COMMITTEE President Barbara Jacob 561.573.6868

EX OFFICIO Hillary Steele Board Chair, The Sarasota Ballet

STANDING COMMITTEE CHAIRS 630.862.4681 941.966.2515

Vice President Richard March

941.343.7171

Iain Webb Director, The Sarasota Ballet

Backstage Tours Andi Lieberman Virginia Tashian

Dancers’ Suppers Peggy Sweeney

941.242.2554

Secretary Peggy Sweeney

941.242.2554

Joseph Volpe Executive Director, The Sarasota Ballet

DNG Liaison Mary Fran Chase

732.706.5556

Information Desk Virginia Tashian

941.966.2515

Luncheon Reservations Donna Maytham

941.351.5361

Membership Betty Ferguson

917.885.4699

Member at Large & Special Projects Laurie Fitch

952.913.2123

Treasurer Elaine Foster Past President Donna Maytham

941-922-8498 941.351.5361

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“

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Newsletter Jane Sheridan

508.367.4949

Office Help Katie Couchot

941.475.6475

Special Events Donna Maytham

941.351.5361

Telephone Network Linda Glover

941.251.4408

Volunteer Coordinator Barbara Fischer Long

941.228.9899

Will Call Melliss Swenson

941.951.6319

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AN EXPANSION TOWARDS LIFE GYROTONIC®

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941.724.5193 2886-D Ringling Blvd, Sarasota

SRQ

CindeCarroll.com

GYROTONIC® GYROTONIC® & Logo, & GYROKINESIS® are registered trademearks of Gyrotonic Sales Corp and are used with their permission.

OF SARASOTA SARASOTA

GetMeJustice.com is the Law Firm of Shapiro, Goldman, Babboni, Fernandez & Walsh

2017-2018 Twenty-second Season

Unique, live musical events that Entertain, Engage and Inspire

PIANO | VOCAL | INSTRUMENTAL | POPS | JAZZ OF SARASOTA

Color gradient

Everything else pales in comparison.

It’s not just about putting your best smile forward — it’s about keeping you smiling for a lifetime.

More than forty performances annually.

For our schedule, details, and tickets visit... www.artistseriesconcerts.org TICKETS & INFORMATION 941.306.1202 (M-F, 10-4)

(941) 907-8300 | 6270 Lake Osprey Drive, Sarasota 34240

and online 24/7 – Group discounts available

www.lakewoodranchdental.com DENTAL IMPLANTS | COSMETIC | PORCELAIN VENEERS | LASER DENTISTRY | PEDIATRIC

The Friends of The Sarasota Ballet is an amazing group of individuals who champion the Company throughout the region.

Through their wonderful events and volunteer work they act as the lifeblood of The Sarasota Ballet community, forming close bonds through a mutual love of the art form and play a vital part in the continued success of The Sarasota Ballet.

Peggy Abt Kay Aidlin Edward Alley Sumner Alpert & Joyce Rosenthal Andrea Anderson Patricia & Richard Anderson Elaine & Robert Appel Carol Arscott Laura Arterburn Justine Baran Gaele Barthold Rhoda & Herb Beningson Kacy Carla Bennington Nancy & Bernard Berkman Barbara Blackburn Shirley Blair Marilyn Blausten Barbara Blumfield Lydia Bohn Iris Bolwell Robert Boyd Arline Breskin Peg Breslow Rebecca Ann Buky Kristine Bundrant Diana Cable Peter & Judy Carlin N.D. Carlson Cassandra Casey Frank Cerullo Mary Fran Chase Marsha Chernick Ron & Shannon Ciaravella Ceil Cirillo Jude Clark Mary Conklin Juanita Connell Evelyn Cooper Kim Cornetet Pat Corson Katie Couchot Sandra Cowing Anna Critchfield Donna Swoyer-Cubit Donna Marie D’Agostino Jacqueline & Harold D’Alessio Susan Loren Davidson Gail Davies Joan S. Davies Robert & Jaqueline de Warren

Kay Delaney & Murray Bring JoAnne DeVries Terry DiResta Diane DiBenedetto Lynda Doery Raymond Doherty Gela L. Dolorico Barbara Dubitsky Marsha Eisenberg Douglas Endicott Barbara E. Epperson Sharon Erickson Helene Fagin Laura Feder Arthur Feigenbaum Shirley Fein Patricia D. Fennessey Ann Fenton Jomel Ferdinand Elizabeth Ferguson Maureen Ferguson & Thomas Steiner Lenore & Jeffrey Fernald Sandy Fink Beverly Fisher Laurie Fitch Bert Fivelson Majorie Floyd & Caroline Amory Mrs. John Forster Karol Foss Elaine Foster Suzanne Freund Barbara Frey Mikal H. Frey Dolores C. Furman Jennifer Gemmeke Kathryn Gibby Jacqueline Giddens Shirley Berlin Gilbert Bonita Gillis Susan Giroux Linda A. Glover Nancy Gold Ellen Goldman Patricia Golemme Kathryn Goodwin Sue M. Gordon Dr. Joseph Grande Jorgen & Gudrun Graugaard Gardenia Gresen

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Bob Griffiths & David Eichlin Sonni Grossman Debbie Grovum Susan Guarasci Patricia A. Haas Carol Ann Hallainger Renee Hamad James & Harley Hanrahan Barbara Harrison Cathy Hathaway William Hatz Dr. Crawford & Joann Hawkins Charlotte Hedge Nicolas Hemes Muriel Hendricks Martha K. Hennes Florence Star Hesler Laurie Hofheimer Mitzi Hogoboom Carolyn Ann Holder Pocha and Doug Horton Anne Howard Jean & Peter Huber Patricia Hudome Martha Huie Carol Hyde Arlene H. Irons Vlatka Ivanisevic Ellen Jabbur Barbara Jacob Barbara Jacoby Barbara Jarabek Edward Johanson Marsha & Richard Johnson Alison Jones Anne Jones Jeri Josephson Merrill Ann Kaegi Irwin & Marcia Katz Ken Keating Carolyn Keidel Ann & Pat Kenny Lois Kertman Barbara & John Kerwin Marlene Kitchell Robin Klein-Strauss Pat Klugherz Philippe Koenig Dina Labes Robert Ladieu & David Hamilton 2017 - 2018 S E A S O N

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Celebrate your child’s special day with a fun and exciting party that includes a dance class.

Ages 3-10 years old

Celebrate WITH THE SARASOTA BALLE T www.sarasotaballet.org

SCD + PIAZZOLLA

October 12-15, 2017

VOICES OF SARASOTA CONTEMPORARY DANCE Nov 30–Dec 3, 2017

events@sarasotaballet.org 941-225-6510

DANCE MAKERS – 12TH ANNUAL CONCERT January 25-28, 2018

EVOLVING / REVOLVING May 10-13, 2018

TICKETS: Sarasota Ballet Box Office / 941.359.0099 / SarasotaContemporaryDance.org

The members listed represent those whose contributions make up the $30,000+ Friends of The Sarasota Ballet donation listed in this Program Book.

William Lahm Lori Lalin Lydia Landa Gail Landry Harriet K. Lane Jean Shorr Langhaug Nancy Lee Janet Leon Iris Leonard Alicia & Michael LeVine Judith Levine Felicia Liban Marlene & Hal Liberman Cynthia Lichtenstein Andrea Lieberman James Long & Barbara Fischer Long Dr. Erin Long & Kathleen Long Mary Lou Loughlin Allie Lucas Carole L. & George B. Ludlow, Jr. Francine Luque Meg Maguire Patricia Maguire Meg Mahoney Richard & Helen March Bluma Marcus Judith & Donald Markstein Carolou & Lou Marquet Dr. Albert & Marita Marsh Jean Martin Barbara Mask Donna & Drew Mateer Joan Mathews David Matthews & Michael W Patica, Jr. Donna Maytham Helen McBean Nathalie McCulloch Jennifer McDonald Leanne McKaig Mary Jane McRae Jennifer Meinert Dr. Michael & Gila Meriwether Carla Miller Rebecca Miller Diane Milrod Sandra Miranda Jean A Mitchell Mary Mitchel Anthony Mollica

Raymond & Maralyn Morrissey Phyllis Myers Martha Naismith Mafalda & Eric Neikrug Frances Nitschke Joan Nixon Gene Noble Marilyn Nordby Mercedita OConnor Catherine & Olaf Olsen Conrad & LenĂŠe Owens Virginia H. Page Jeannette Paladino Helen Panoyan Virginia & Stuart Peltz Colette Penn Marilynn Petrillo Sharon & Joe Petty Julie Planck Kathy Pollack Fannie Porter Richard Prescott & DJ Arnold Faith & Marshall Pridmore Rose Marie Proietti Barbara Quinn Jimmye Reeves Anita Reid Rebecca Reilly Mary Jo Reston Pam Richards Nick Robbins Anne Roberts Margot & Jack Robinson Terry & Susan Romine Sally Ross Marsha Roth Judy Rush Marcia & Sidney Rutberg Beverly Ryan Larry Sage Phyllis Schaen Molly Schechter Betty Schoenbaum Bobbye Schott Barbara S. Schur Eda T. Scott Carol & Erwin Segal John & Carole Segal Tracy Seider Micki Sellman

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Elizabeth Shalett Jane Sheridan Murray & Abby Sherry Marianne Siegal Renee Silverstein Jacqueline Simonds Rita Sinaiko Eva Slane Marilyn Stamberg Irene Stankevics Robert Stanton Ken Starr Barbara Staton Hillary Steele Mildred F. Stein Louise Stevens George J. Straschnov, MD Ann Sundeen Peggy Sweeney Melliss K. Swenson Barbara Taliaferro Virginia & Dee Tashian Joan Tatum Marcia Jean Taub & Peter Swain Veronica & Michel Tcherevkoff John Teryek Carolyn Thompson Janet Tolbert Andrew Vac Susan Valentine Robert Van Skike Helen Vetter Lauren Ann Walsh Tom & Gwen Watson Karen Watt Judith Waxberg Jo-An M. Webb Rita Weingarten JoAnne Whalen Myrna & Jeremy Whatmough Kim Wheeler Tina Widen Laurie Wiesemann Kenneth Jay Wilson Edie Winston Elizabeth Wolfe Betsy Wollman Pauline B. Wood, MD Betty York Dr. Elaine Zwelling 2017 - 2018 S E A S O N

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Save the Dates Benefiting SMH Stroke Intervention Programs

PREMIER SPONSOR

Synovus

March 23, 2018 Michael’s On East

PREMIER SPONSOR

Northern Trust

January 13, 2018 The Ritz Carlton Benefiting SMH Emergency & Trauma Services

Friday, May 4, 2018 Laurel Oak Country Club

Benefiting SMH Staff Education

For more information, visit smhf.org or contact Sally Schule at (941) 917-1286 or sally-schule@smh.com Sarasota Memorial Healthcare Foundation is an independent charitable organization working together with Sarasota Memorial Health Care System and others to ensure world class healthcare throughout our community.

Shop for a good cause at Designing Women Boutique, where every purchase helps support our grants program to benefit local non-profits.

Browse our tempting selection of new and consigned clothing from top brands, as well as our fine jewelry, furs and furniture. You deserve something new! For over 15 years DWB has provided grants to most local charities, including the Sarasota Ballet.

DESIGNING WOMEN BOUTIQUE

DesigningWomenSRQ.org 1226 North Tamiami Trail, Sarasota 941.366.5293 A 501c3 Benefiting Local Arts & Human Services Organizations

Where Others See Barriers, She Sees Breakthroughs When Dr. Tanya Schreibman, Medical Director of Community AIDS Network’s Sarasota Comprehensive Care Center, sees patients at our clinic, she’s helping to break down the barriers to a level of care that everyone deserves. While developing and overseeing our clinical trials program, she’s part of an effort that’s leading to breakthroughs proving effective in controlling HIV and its co-infections – providing hope that one day they will be eradicated.

You can help. Visit cccsrq.org.

1231 North Tuttle Avenue, Sarasota, Florida 34237 (941) 366-0461 cccsrq.org

Comprehensive Care Center Inc., dba Community AIDS Network, is a GuideStar Platinum Participant

ADVERTISERS INDEX 1st Source Bank Alison M. Gardner Allegiant Private Advisors Ameriprise Financial Services, Inc. Art to Walk On Arthur Schwartz, MD, JD, MSC Artist Series Concerts Arts and Cultural Alliance BB&T Wealth BMO Private Bank Barbara Mei / Premier Sotheby’s Bart Price, M.D. - Concierge Medical Services Bijou Café Bodywise Physical Therapy

60 150 19 29 44 150 154 147 140 3 35 64 84 80

Bookstore 1 Sarasota Church of The Redeemer Cinde Carroll Pilates & Gyrotonic ® Community AIDS Network Community Foundation of Sarasota County Crissy Galleries Cumberland Advisors Designing Women Boutique Donte’s Den Eurotech Cabinetry, Inc. Florida Chiropractic & Rehabilitation Clinics Flowers by Fudgie Galleria Silecchia Gulf Coast Community Foundation

44, 140 44 154 159 6 160 62 158 84 10 86 128 44 Inside Front

We Buy & Sell Antiques & Estate Jewelry “A fish without water is like a human without art.”

-

- Peter Paul

Art Nouveau platinum, 18K, diamond and enamel fish pin, 3” H, c.1900.

640 S. Washington Blvd., Sarasota, FL 34236 941- 957-1110 Monday - Saturday, 10am - 5pm www.crissy.com

ART & ANTIQUE CENTER S A R A S O T A

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Holcomb-Kreithen Plastic Surgery & MedSpa 53 Innovative Dining 35 JKL Design Group, Inc. 8 J.L. Bainbridge | John Leeming, CFP 58 Jewish Federation of Sarasota-Manatee 132 La Musica 150 Lakehouse West 132 Lakewood Ranch Dental 154 MKID Interior Design 24 Marianne E 44 Martin Freeman 45 Mauldin & Jenkins CPA, LLC 150 Melange Home 45 Michael’s Events & Catering 39 Michael’s on Boulevard 147 Michael’s on East 39 Michael’s Wine Cellar 82 Morton’s Gourmet Market 138 New Balance 35 New York DanceWear 140 Observer Media Group 60 Palm Avenue Fine Art 45 Parker-Harrigan Group 150 Perlman Music Program Suncoast 147 Peter G. Laughlin / Premier Sotheby’s 138 Peter G. Magnuson / Financial Advisor 150 Peterbrook Chocolatier 45 Plymouth Harbor 14 Rugs As Art 82 Salon Forty One 45 Sarasota Bay Club 2 Sarasota Concert Association 138 Sarasota Contemporary Dance 156 Sarasota Foot Care Center PA 130 Sarasota Magazine 58 Sarasota Memorial Healthcare Foundation 158 Sarasota Opera 130 Sarasota Orchestra 128 Selva Grill 4 Serbin Printing 140 Shapiro, Goldman, Babboni, Fernandez 154 and Walsh SkinSmart Dermatology 147 Southeastern Guide Dogs 12 Studio South Fitness 66 Susan M. Sloan, O.D. 150 Susan H. Weinkle, M.D. 150 Tervis 22 The Mark - Kolter Urban LLC 20 The Ritz - Kolter Urban LLC Inside Back WEDU 64 WUSF 62 Wilde Automotive Family 30 Williams Parker Harrison Dietz & Getzen Back Cover

subject to prior sale

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UNIQUELY SARASOTA. UNMISTAKABLY RITZ-CARLTON.

Artist’s Rendering

The Ritz-Carlton is synonymous with a lifestyle of singular style and grace. Now, the latest evolution of that lifestyle is making its debut on the glittering shores of Sarasota Bay.

Dramatically expanded residences feature soaring 11’ ceilings and breathtaking water views. Legendary service is complemented by unparalleled private amenities and exceptional resort pleasures – from The Beach Club and indulgent spa to Tom Fazio-designed championship golf *. The new Ritz-Carlton Residences, Sarasota. Life. Served to perfection.

New Grand Waterfront Residences from $2.4 Million

Visit the Sales Gallery in the lobby of The Ritz-Carlton hotel.

941-202-6499 | 1111 Ritz-Carlton Drive | Sarasota, Florida 34236 TheResidencesSarasota.com Artist’s Rendering

IS A PROUD SPONSOR OF THE SARASOTA BALLET. The Ritz-Carlton Residences, Sarasota are not owned, developed or sold by The Ritz-Carlton Hotel Company, L.L.C. or its aff iliates (“Ritz-Carlton”). The New Grande Residences LP uses The Ritz-Carlton marks under a license from Ritz-Carlton, which has not confirmed the accuracy of any of the statements or representations made herein.

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*Developer is not affiliated with The Ritz-Carlton Beach Club or Golf Club. Membership is included with residence purchase. Initiation Fee of $20,000 will be credited at closing. Consult Membership Document for complete details.

Broker Participation is welcomed and encouraged. ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE SELLER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A SELLER TO A BUYER OR LESSEE. This project has been filed in the state of Florida and no other state. This is not an offer to sell or solicitation of offers to buy the condominium units in states where such offer or solicitation cannot be made. Prices and availability are subject to change at any time without notice.