2018-2019 Season Program Book

2018 - 2019 A SEASON OF TRIBUTES

WHAT YOU SEE IS WHAT YOU GAVE

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Photo Matthew Holler

Together with our donors, we transform our region through bold and proactive philanthropy. We do it by investing in the things that make life here worth living, like our world-class arts and cultural community. When you see the unrivaled artistry, athleticism, and innovation of The Sarasota Ballet, we see our donors’ philanthropy at work.

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T H E S A R A S OTA B A L L E T ’ S

2018 - 2019 SEASON ICONOGRAPHIC PROGRAM 1 | 26 - 28 October 2018 Galina Samsova’s Paquita Ricardo Graziano’s Symphony of Sorrows Martha Graham’s Appalachian Spring FSU Center for the Performing Arts

MASTERS OF DANCE PROGRAM 2 | 16 - 17 November 2018 Sir Frederick Ashton’s Rhapsody Christopher Wheeldon’s There Where She Loved Jerome Robbins’ The Concert Sarasota Opera House Accompanied by the Sarasota Orchestra

THE SARASOTA BALLET PRESENTS

MARTHA GRAHAM DANCE COMPANY PROGRAM 5 | 15 - 17 February 2019 “...one of the great dance companies of the world” - The New York Times FSU Center for the Performing Arts

GISELLE PROGRAM 7 | 26 - 27 April 2019 Sir Peter Wright’s production of this enthralling tale of young love, unrequited romance, and loss.

Sarasota Opera House Accompanied by the Sarasota Orchestra

POETRY AND LIBERTY PROGRAM 6 | 8 - 9 March 2019 Sir Frederick Ashton’s Apparitions George Balanchine’s Stars and Stripes Van Wezel Performing Arts Hall Accompanied by the Sarasota Orchestra

Victoria Hulland & Ricardo Graziano in Sir Peter Wright’s Giselle Photo Frank Atura

VICTORIAN WINTERS PROGRAM 3 | 14 - 15 December 2018 Sir Frederick Ashton’s Les Patineurs Sir Frederick Ashton’s Enigma Variations George Balanchine’s Diamonds Van Wezel Performing Arts Hall Accompanied by the Sarasota Orchestra

TRANSCENDING MOVEMENT PROGRAM 4 | 25 - 28 January 2019 David Bintley’s Four Scottish Dances Sir Frederick Ashton’s Meditation from Thaïs Ricardo Graziano World Premiere Sir Frederick Ashton’s Varii Capricci FSU Center for the Performing Arts

Front Cover photograph by Frank Atura Victoria Hulland & Ricardo Graziano in Sir Frederick Ashton’s Apparitions

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IAIN WEBB D I R E C TO R

On behalf of everyone at The Sarasota Ballet, I welcome you to our 2018 – 2019 Season, a true reflection of the purity, complexity, strength, and beauty that ballet has to offer. With seven productions, we bring to the stage choreographers and composers that strike at the heart of human emotion.

The world of ballet is so much larger and diverse than most imagine. Each year our Company embodies this, providing our audience, and indeed our dancers, the opportunity to see the breadth and depth of this incredible art form. From the full-length romantic classic Giselle, which premiered with the Paris Opera Ballet in 1841, to Ricardo Graziano’s upcoming 2019 World Premiere, you will witness works that enthrall and exhilarate.

I hope that you will join us throughout this Season to witness these magnificent works, to connect with our remarkable dancers, and to fall in love with ballet. Together with our generous donors and our devoted audience members, we have created a Company that is exceptional, not only in its ambition, but also in its reach. I hope that you will be as thrilled with this Season as we are.

As I close, I would like to take this moment to mention two rather incredible people - Joseph Volpe, Executive Director, and Margaret Barbieri, Assistant Director. To be able to work with Joseph Volpe, the greatest figure in Arts Management in the world, is something I never dreamt possible. His knowledge, understanding, and connection to the arts is truly staggering, and I am honored to have his support in continuing to build this Company. Margaret is an astonishing woman and truly is the backbone of everything you see on stage. Her career with The Royal Ballet, working with most of the great masters of the 20th century, enables her to pass down to our dancers the extraordinary details and artistry that have defined our Company’s reputation throughout the world.

Ted Shawn, founder of the Jacob’s Pillow Dance Festival, said, “I believe that dance communicates man’s deepest, highest and most truly spiritual thoughts and emotions far better than words, spoken or written.” I hope that as you join us this Season, you will find that same connection.

Thank you, and again welcome to The Sarasota Ballet’s 2018 – 2019 Season.

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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One Donor 90 Funded Performances

800 Unlocked Imaginations

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

“The body never lies.” This quote from Martha Graham describes a certain quality, honesty, that sets dance apart from other art forms. Creating and executing movement through the body doesn’t just happen. Nothing is hidden; effort and dedication is what one sees and feels. Honesty plays such an important role in this Company, from what you see onstage with our talented dancers, to the transparency we have with our donors and audience members. We continue to receive the highest ratings from two of America’s largest independent nonprofit evaluators, Charity Navigator and GuideStar. We greatly appreciate your support of The Sarasota Ballet, and your investment in us and our mission. Hard work, along with preparation and planning, are integral to everything we do. The Sarasota Ballet is a collaborative community effort to enrich lives through our performances and educational programs.

We started this season with a week-long residency at the Joyce Theater in New York. We not only showcased our wonderful company to new audiences, but also highlighted the caliber of what we produce at home.

We always face an intricate balancing act in order to both preserve and expand the Company’s artistic integrity, while at the same time dedicating ourselves to maintaining and growing our financial stability. Working alongside Iain Webb and Margaret Barbieri, we strive to make The Sarasota Ballet a company we all can be proud of. To that end, we continue to strengthen the administration of the organization. I am pleased to announce the following new appointments: Chad Morrison joins the Company this season as General Manager. Chad will be responsible for managing the administrative operations of the Company.

Lauren Stroman joined us in July as a Development Associate and has been recently promoted to Development Officer.

Lauren will be working in all aspects of Development, including donor and corporate relations.

Amy Hernden joined us this season as Special Events Manager. Amy is responsible for coordinating and managing the events of the Company.

Jason Ettore begins his seventh season with the Company and was recently promoted to Marketing Director, he previously managed the design, branding, and public relations of the Company. As Marketing Director of The Sarasota Ballet, Jason is charged with managing the marketing of all elements of the Company.

Please help me welcome them.

I wish to thank you for your support of The Sarasota Ballet. The measure of our success beyond the stage is the trust, confidence, and enthusiasm exhibited by our donors and patrons.

I look forward to seeing you in the theater.

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

This 2018 – 2019 Season is particularly special as Iain has designed it as a Season of Tributes to some of the 20th Century’s greatest artists of dance.

These tributes commence with the Company Premiere of Jerome Robbins’ comedic masterpiece The Concert. Born in Manhattan, New York on the 11th October 1918, this year marks the Centennial Celebration of one of America’s great choreographers, Jerome Robbins. We are honored to have been given permission to perform his ballet The Concert and likewise honored to join with the many companies around the world honoring him this year.

The ballets of Sir Frederick Ashton have played an incredibly vital role in the growth of The Sarasota Ballet and indeed the growth of our national and international reputation. We were thrilled to be able to commemorate the 30th anniversary of his passing exactly 30 years to the day with our performances at the Joyce Theater in New York. We continue this celebration of his life and works with our performances of Les Patineurs and Enigma Variations, as well as the company premiere of Rhapsody.

2018 also marks the 35th anniversary of the passing of the father of American ballet, George Balanchine. Having built New York City Ballet and the School of American Ballet into a world renowned and prestigious Ballet Company and School, Balanchine passed away at the age of 79 on the 30th of April 1983. Last Season we paid tribute to this anniversary with the revival of one of his rarely seen ballets Bugaku, and we again pay tribute to this great man with our performances of his remarkable Diamonds.

Before we usher in the New Year, we also celebrate the 50th anniversary of Enigma Variations. Choreographed by Sir Frederick Ashton to Sir Edward Elgar’s beloved score of the same name, the ballet premiered at the Royal Opera House on the 25th October 1968. The Sarasota Ballet is still the only ballet company outside of The Royal Ballet and Birmingham Royal Ballet to have been given permission to perform this work.

Our final tribute is to one of the great ballerinas of the 20th Century, Dame Margot Fonteyn. Born in Surrey England on the 18 May 1919, we celebrate her Centennial with the much anticipated revival of Ashton’s Apparitions, created on her and Sir Robert Helpmann in 1936. Pronounced Prima Ballerina Assoluta of The Royal Ballet by Queen Elizabeth II in 1979, she was Ashton’s first and greatest muse. Out of all the tributes this Season, this is the one that is most dear to my heart. I will always treasure the years spent working alongside her—she was always so kind and generous through the help and guidance she gave me throughout my career.

I do hope you will join us throughout the Season for these special tributes, and for all the extraordinary ballets that our beautiful and gifted dancers will perform throughout the year.

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F U N C T I O N AL

A R T W O R K

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RICHARD JOHNSON BOARD CHAIR

I am honored to welcome you to The Sarasota Ballet’s 28th Season and my first year as Chair of the Board of Trustees.

I was truly humbled by the Board’s decision to elect me to succeed Hillary Steele as Chair. Hillary has worked tirelessly for many years, both as Board member and later as Board Chair, and through her hard work and passion, she has ensured the Board’s support of Iain’s and Joseph’s efforts to take the Company to new and outstanding levels. I hope that I can continue to provide such leadership and build on the foundation that Hillary has created. I am so grateful that she will continue to be a member of our Board of Trustees as I know that her guidance and wisdom will be greatly valued.

Several years ago, my dear wife, Marsha, introduced me to ballet through The Sarasota Ballet. It was during a studio rehearsal of Sir Frederick Ashton’s La Fille mal gardée. I was held captive by the artistry, athleticism, and musical interpretation of the dancers – even in rehearsal. As I learned more, I was further impressed by the commitment and dedication of this incredible organization. I fell in love with ballet. Together with my wife, we were inspired as we watched this Company grow season to season. We were in awe of the Company’s gifted dancers and the ballets that were presented to us each and every program. It was a privilege to join our fellow residents of Sarasota to celebrate the commitment and artistry that Iain and Margaret have brought to our city.

Last winter Marsha passed away, leaving a chasm in my life. However, the Company has helped keep me connected to Marsha and indeed helped keep her legacy alive. Each time I watch our performances, each time I see Iain and Margaret working with our dancers, I feel Marsha next to me, and for that, I am grateful to you, our audience, and patrons. Your generosity and support enables this Company to continue to bring such exquisite ballets to the Sarasota stage.

On behalf of the Board of Trustees, thank you. We look forward to seeing you throughout the Season.

The S ar asota B allet

BOARD OF TRUSTEES FOUNDER / CHAIR EMERITUS J ean Weidner G old stein CHAIR EMERITA Sydne y G oldstein HONORARY CHAIR EMERITA H illar y S teele OFFICERS R i chard J ohnson B oard Ch air Patr i cia G olem m e

Vice Ch air

Pat K enny

Treasurer

J onathan Colem an

S ecret ar y

R i ch S egall

G over n an ce

TRUSTEES Isabel A nchi n B eck er Paul Cantor Ly nda D oe r y S ean K eenan R i chard M arch Fr ank M ar tucci Teresa M asterson Peter M i ll er Audre y R obb in s M i ck i S ellman H i llar y S te ele M aureen S te in er J ean Weiller M ichael Zuck er b erg HONORARY DIRECTORS M ar k Fam ig lio D r. Bar t Pr ice

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JEAN WEIDNER GOLDSTEIN FOUNDER & CHAIR EMERITUS

Each Season I am astonished at how our Company has grown and at the incredible ballets they have in store for us. As Founder of The Sarasota Ballet, I am filled with such pride that our Company continues to be such a shining gem, not only in the Sarasota arts community, but also in the world of dance.

A few years ago my late husband Alfred Goldstein set in place a Touring Fund for The Sarasota Ballet in my honor. I was so humbled by the love and generosity he showed with this, not just for me, but also for this Company. So it was with such joy that I followed The Sarasota Ballet’s recent August performances at the Joyce Theater in New York City. Their sold-out weeklong residency brought dance luminaries to the performances, as well as reviews and previews in publications like The New Yorker, The New York Times, The Wall Street Journal, and The Dancing Times. In particular I was so proud to read the following quote from Broadway World: The Sarasota Ballet has been in the forefront of ballet companies since Iain Webb took over the helm in 2007. Its vibrancy, its passion, its commitment to dance is bracing, especially in light of today’s artistic upheavals. I think I’ll fly down to Sarasota next time.

Season after season of such extraordinary artistry from The Sarasota Ballet, it can be easy to become complacent with how special this Company is. Reading these comments from reviewers and audience members at the Joyce was a much welcome reminder of how much we have to be proud of—and just how much this Company has grown and continues to grow.

Thank you so much for supporting The Sarasota Ballet, and I hope you will enjoy this Season just as much as I will.

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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T H E S A R A S OTA B A L L E T ’ S

2007 - 2019 REPERTOIRE Sir Frederick Ashton Apparitions, Birthday Offering, La Chatte métamorphosée en femme, The Dream, Enigma Variations, Façade, La Fille mal gardée, Illuminations, Jazz Calendar, Marguerite and Armand, Meditation from Thaïs, Monotones I, Monotones II, Les Patineurs, Les Rendezvous, Rhapsody, Scènes de ballet, Sinfonietta, The Sleeping Beauty Awakening Pas de Deux, Symphonic Variations, Tweedledum and Tweedledee, The Two Pigeons, Valses nobles et sentimentales, Varii Capricci, Voices of Spring Pas de Deux, The Walk to the Paradise Garden, A Wedding Bouquet

Robert de Warren The Nutcracker [production]

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?

Johan Kobborg Napoli Act III (after Bournonville), Salute

David Bintley Four 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

Peter Darrell Othello Agnes de Mille Rodeo Dame Ninette de Valois Checkmate, The Rake’s Progress

2018 - 2019 S E A S O N

Michel Fokine Les Sylphides, Petrushka Marcelo Gomes Dear Life...

Martha Graham Appalachian Spring Matthew Hart Cry Baby Kreisler, John Ringling’s Circus Nutcracker, Tchaikovsky’s Ballet Fantasy

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

John Cranko Pineapple Poll

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Flemming Flindt The Lesson

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Yuri Possokhov Firebird

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T H E S A R A S OTA B A L L E T ’ S

2007 - 2019 REPERTOIRE André Prokovsky Anna Karenina, Vespri

RESIDENT CHOREOGRAPHER Ricardo Graziano Before Night Falls, En las Calles de Murcia, In a State of Weightlessness, The Jolly Overture, Pomp and Circumstance, Shostakovich Suite, Somewhere pas de deux, Sonata in Four Movements, Symphony of Sorrows, Valsinhas, 2019 World Premiere

Jerome Robbins The Concert, Fancy Free Galina Samsova Paquita [production] Paul Taylor Airs, Company B Twyla Tharp In The Upper Room, Nine Sinatra Songs Will Tuckett Changing Light, Lux Aeterna, The Secret Garden, Spielende Kinder Antony Tudor Continuo, Gala Performance, The Leaves are Fading, Lilac Garden Vasily Vainonen Flames of Paris Pas de Deux

COMPANY CHOREOGRAPHY Ricki Bertoni Hip 2 Be Square, Ragtop George Birkadze Farandole Jamie Carter À Deux Mains, Addio ad un Sogno, Concordium, Five Duets (Between Longing and Yearning), Holiday Overture, The Tarot Meg Egington Cézanne’s Doubt

Hans van Manen Grosse Fuge 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 Loved Sir Peter Wright Giselle [production], The Mirror Walkers, Summertide

Pavel Fomin Hommage à Chopin, Paquita [production] Alex Harrison The Blue Hour Kate Honea Baroque and Blues, Gitana Galop, Headlines, Percolator Logan Learned Nebulous, Scene de Ballet Octavio Martin On The Outside, Orpheus and Eurydice David Tlaiye Xibalba Kelly Yankle Ne Me Quitte Pas

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CONTACT US C O N TA C T S F O R PAT R O N S O F T H E S A R A S OTA B A L L E T

CHAD MORRISON GENERAL MANAGER Chad Morrison joins The Sarasota Ballet this Season from Theatre Projects, the world’s leading theatre design and planning firm, where he was General Manager overseeing all aspects of day to day operations and long term planning.

As General Manager of The Sarasota Ballet, Morrison is charged with managing the administrative operations of the Company.

941.359.0099 x 113 | cmorrison@sarasotaballet.org

LAUREN STROMAN D E V E LO P M E N T O F F I C E R Lauren Stroman joins The Sarasota Ballet this Season from the Asolo Repertory Theatre, where she worked in the company’s events department. Before relocating to Sarasota, Stroman graduated from Shenandoah Conservatory with a Masters of Science in Performing Arts Leadership and Management.

As Development Officer of The Sarasota Ballet, Stroman will be working in all aspects of Development, including Donor and Corporate relations.

941.359.0099 x 110 | lstroman@sarasotaballet.org

AMY HERNDEN SPECIAL EVENTS MANAGER Amy Hernden joins The Sarasota Ballet this Season from Mote Marine Laboratory & Aquarium, where she served as the Protect Our Reefs Marketing Manager organizing the community celebration, Ocean Fest, based in the Florida Keys.

As Special Events Manager of The Sarasota Ballet, Hernden is responsible for coordinating and managing the events of the Company.

941.359.0099 x 119 | ahernden@sarasotaballet.org

JASON ETTORE M A R K E T I N G D I R E C TO R Jason Ettore begins his seventh season with The Sarasota Ballet as Marketing Director, having previously managed the design, branding and public relations of the Company.

As Marketing Director of The Sarasota Ballet, Ettore is charged with managing the marketing of all elements of of the Company.

941.359.0099 x 105 | jettore@sarasotaballet.org

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2018 - 2019 S E A S O N

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Paul B. Cantor

Benjamin W. Jones

Martin J. Kossoff

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C U ST OMIZ E D W E A L T H MA N A GE ME N T

LUMINARIES $100, 000 +

JEAN WEIDNER GOLDSTEIN In Loving Memory of Alfred Goldstein

SYDNEY GOLDSTEIN Poetry and Liberty

Masters of Dance

ERNIE KRETZMER In Loving Memory of Alisa Kretzmer

JEAN WEILLER

Transcending Movement

Victorian Winters

OUR SPECIAL ANGEL Giselle

Donations recognized from 1 October 2017 through 5 October 2018

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LIFE WHERE YOU WANT IT

Artist’s Rendering

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844-500-6275 | MARKSARASOTA.COM 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 THIS BROCHURE AND 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. Pictures are artists renderings and may not represent the final building. Furnishings and fi xtures are for display purposes only and are not included with the residences.

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BENEFACTORS $75, 000 - $99, 999

MARK FAMIGLIO

PAT AND ANN KENNY

PAUL AND SHARON STEINWACHS

MARCIA JEAN TAUB AND PETER SWAIN In Loving Memory of Ethel and Ron Taub

Paquita

Apparitions

Rhapsody

Giselle and Ricardo Graziano World Premiere

In Loving Memory of ROBERT AND JEANNE ZABELLE Varii Capricci

Donations recognized from 1 October 2017 through 5 October 2018

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FIND YOUR WILDE

W I L D E C A R S . C O M

GUARDIANS $50, 000 - $74, 999

M A R YA N N A R M O U R Les Patineurs

PAT R I C I A G O L E M M E A N D T I M OT H Y F U L LU M Giselle

JULIE A. HARRIS Diamonds

MERCEDITA OCONNOR Giselle

BUD AND BETTY SHAPIRO

HILLARY STEELE

Symphony of Sorrows

Ricardo Graziano World Premiere Donations recognized from 1 October 2017 through 5 October 2018

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

ISABEL ANCHIN BECKER

F R E D A N D LY N D A D O E R Y

MICHAEL AND SHERRY GUTHRIE

CHARLES HUISKING

BARBARA JACOB

RICHARD JOHNSON In Loving Memory Marsha Johnson

Stars and Stripes

Four Scottish Dances

Appalachian Spring

The Concert

Ricardo Graziano World Premiere

Les Patineurs

ROBIN KLEIN-STRAUSS AND MICHAEL STRAUSS Apparitions

HARRY LEOPOLD AND AUDREY ROBBINS

FRANK AND KATHERINE MAR TUCCI Rhapsody

Ricardo Graziano World Premiere Donations recognized from 1 October 2017 through 5 October 2018

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CONNOISSEURS $25, 000 - $49, 999

J O A N M AT H E W S Enigma Variations

C L AU D I A M C C O R K L E A N D B E AU There Where She Loved

PETER MILLER AND DR. MARTHA HARRISON Enigma Variations

DR. BART PRICE

MICKI SELLMAN In Loving Memory of Jerry Sellman

Varii Capricci

NOEL AND TOBY SIEGEL Stars and Stripes

Les Patineurs

JARED WINTERS

ANONYMOUS

Rhapsody

Giselle

Donations recognized from 1 October 2017 through 5 October 2018

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AFICIONADOS $ 1 5 ,0 0 0 - $ 2 4 , 9 9 9

FRANCES FERGUSSON AND JOHN BRADBURY

RICHARD AND HELEN MARCH

PETE AND MAGGIE ROTH

J U DY R U D G E S A N D S TA N K AT Z

Four Scottish Dances

Les Patineurs

Ricardo Graziano World Premiere

DONNA MAYTHAM In Loving Memory of Walter Maytham There Where She Loved

RICH AND CLARE SEGALL The Concert

Appalachian Spring

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AFICIONADOS $15, 000 - $24, 999

TO M A N D M AU R E E N S T E I N E R Appalachian Spring

JEAN VOLPE

MATT AND LISA WALSH

Apparitions

In Loving Memory of CATHERINE WINGATE AND DON LEVINE

Stars and Stripes

MICHAEL ZUCKERBERG Giselle

Apparitions

Donations recognized from 1 October 2017 through 5 October 2018

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

GERRI AARON

PEGGY AND KEN ABT

DAV I D A N D B E T T Y J E A N B AVA R

M U R R AY B R I N G A N D K AY D E L A N E Y B R I N G

JUDY CAHN In Loving Memory of Charles Cahn

E L I Z A P. C U LV E R H O U S E

KAROL FOSS

RENEE HYMSON

WA L D R O N K R A E M E R A N D J O A N LO V E L L

Enigma Variations

There Where She Loved

Diamonds

Symphony of Sorrows

Paquita

Varii Capricci

Rhapsody

Four Scottish Dances

There Where She Loved

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PATRONS $10, 000 - $14, 999

TINA AND RICK LIEBERMAN

ROSE MARIE PROIE T TI

F LO R I R O B E R T S

M A R I LY N A N D S T E V E R OT H S C H I L D

SKIP AND GAIL SACK

ALISON GARDNER A N D J A N S I R OTA

The Concert

Diamonds

Varii Capricci

Stars and Stripes

Enigma Variations

Apparitions

T H O M A S A N D G W E N D O LY N WAT S O N

W I L L I A M A N D K A R E N WAT T There Where She Loved

S A L LY YA N O W I T Z Symphony of Sorrows

Paquita

Donations recognized from 1 October 2017 through 5 October 2018

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

CAROL ARSCOTT

SHARI AND STEVE ASHMAN

BOB AND GINGER CANNON BAILEY

RUTH AND DAVID BELILES

WILLIAM AND BONNIE CHAPMAN

JONATHAN STRICKLAND COLEMAN AND RICK KERBY

GEORGIA COURT

ROBERT AND GAIL DAVIES

NORBERT DONELLY AND ANN WINSLOW DONELLY

LAURIE FITCH

MARJORIE FLOYD AND CAROLINE AMORY

HERMAN AND SHARON FRANKEL

RONALD AND MICKI H. GAMER

DR. SIDNEY KATZ AND ELAINE KEATING

SEAN AND CARA KEENAN

ANNE KLISURICH

Donations recognized from 1 October 2017 through 5 October 2018

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DEVOTEES $5, 000 - $9, 999

DIANE AND THOMAS MAHAN

PETER AND TERESA MASTERSON

RICHARD AND CORNELIA MATSON

BETTY MENELL

EUGENE NOBLE

DOROTHY O’BRIEN AND RICHARD ANTOINE

JOHN AND BARBARA OVERSTREET

In Loving Memory of BETTY SCHOENBAUM

CATHERINE STOUT

CURT AND MELLISS SWENSON

DIRAN AND VIRGINIA TASHIAN

ED TOWN AND STEVE RUBIN

FREMAJANE WOLFSON In Loving Memory of Blair Wolfson

RICHARD WIRES

SORA YELIN In Loving Memory of Cary F. Yelin

ANONYMOUS

Donations recognized from 1 October 2017 through 5 October 2018

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

|

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

CONTRIBUTORS $3,000 - $4,999

Peggy Allen and Steven Dixon Peter H. Amster Robert and Elaine Appel Natalie Armstrong Everett and Shirley Behrendt

James Brooks Diana Cable Peter and Judy Carlin Lynn Chancer Nadine Cohodas In loving memory of Sylvia Cohodas James and Kim Cornetet B.J. Creighton Beverly Dennis Timothy DeSanto Patricia and John Dupps Harry and Marsha Eisenberg Douglas Endicott Bill and Barbara Epperson Iris and Robert Fanger Diane Taylor Foxman Michael and Jean Freed Allie Freedman Edmund and Patricia Garno Wanda Garofalo Alfred and Anne Garrett Jennifer Gemmeke Nancy Gold Roz Goldberg and Alan Bandler Ellen Goldman Sue Marquis Gordon

Jim and Harley Hanrahan Peter and Bonnie Hurley Janet Hyman Thomas and Alison Jones R. Curtis Jordan Roger Kennedy Michael and Marcy Klein Nancy Kling

William and Linda Berliner Donna and Jon Boscia Edward and Peg Breslow

Norman Gross Renee Hamad Beverly Harms

Dorothy Lawrence Melvy Lewis Hans Li and Jennifer Kouvant

George Allison and Alan Watkins Ruth Barker Alan and Natalie Cohen Neil and Sandra DeFeo Eleanor Faber Valerie Gill Thomas I and Linda Z Klein Philanthropic Fund Louis and Carolou Marquet In Loving Memory of Thomas Nadolski Stu and Gini Peltz Beth Uffner Mildred Weissman Eleanor Wilson Williams Morton Mandle and Jytte Winslow-Mandle

SUPPORTERS $1,000 - $2,999

Barbara and James Long Phyllis and Saul Lowitt Cynthia and Jonathan McCague Mary McGrath Robert and Sharon McMillan Jennifer and Mario Messina Carolyn Michel and Howard Millman Alan and Nancy Milbauer Sandra Miranda Raymond and Maralyn Morrissey Gloria Moss Patrick and Kim Nettles James Nichols and Michele Fain Jane and Tom Oliver Virginia Page Marilynn Petrillo Megan Powers Heather A. Reid and Graham Morris Mary Jo Reston Marsha Roth Gabriel and Valerie Schmergel Geri Serot Mary Ann Sharp Jane Sheridan Murray and Abby Sherry Carole Sisson David and Linda Tidmarsh Kristin Tomaiuolo Richard and Carol Toppel Anna Troiano Lauren and Bernard Walsh Dr. Wiesenfeld

Donations recognized from 1 October 2017 through 5 October 2018

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The Arts Your

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

Financial Advisor should possess those same attributes.

Let’s Talk I’ll Listen We’ll Work Together

AMERIPRISE FINANCIAL DAVID J. YARLETTS, CFP® Financial Advisor Certified Financial Planner™ 541 North Orange Avenue Sarasota, Florida 34236 (941) 364-9009

DAVID.J.YARLETTS@AMPF.COM

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

Consult your tax advisor or attorney regarding specific tax or legal issues.

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

ADMIRERS $500 - $ 9 9 9

ADMIRERS $500 - $999 Suzanne Anber Richard and Patricia Anderson Caroline Andrus Laura Arterburn Begay Atkinson Sumner and Irene Bagby Linda Baxbaum Richard Belle Dale Booker and Doreen Bailey Martin and Barbara Jean Bowling Barbara Brizdle Peggy Cook Patricia Corson and Martin Goldstein Robin Curtis Maureen and Howard Daffner Leila and James Day David Degann Charmaine Downie Edward and Annette Eliasberg Leon and Marge Ellin Bruce Ensinger Anne Enyart Gerladine Fabrikant Laura Feder Sandy Fink Donald Fosselman Timothy and Ellen Foster Valerie and Mark Friedman Gerald Genova and Robert Evans Eugenia Glasser Sandra Hammer

John and Nancy Harris James Heslin Dr. Karen Holbrook William and Elizabeth Johnston Gerald and Nancy Kaplan Phillip King Ronald and Joan Kluck Donna Koffman Vivian Kouvant Randi Kreiss Jean Langdon Teresa Lee Alan Lenowitz Louis and Sandra Levy Hal and Marlene Liberman Sandra Long Rise Snider Loshaek Gerry and Sheri Lublin Marketing on Main Gary and Lynn Massel Walt and Gerry Mattson Mary Jane McRae Michael and Michelle Morris Jon Newman Conrad and Lenee Owens Anna Passalaqua Charles and Charlotte Perret Lee and Kathie Pokoik Pamela Revels Veronica Rivera Anne F. Roberts Susan L. Robinson

The Roskamp Foundation Irrevocable Trust Jack and Nancy Rozance William and Marjorie Sandy Judith Sass Eva Saunders Norma Savin Alan Schottenstein Sharonna Sheffield Morton and Bernice Skirboll Martin Strobel Michael and Marsha Svirsky USF Sarasota Manatee Karen Vereb Linda Webb

Angus and Jackie Rogers 34

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Norman and Hannah Weinberg Louis and Elizabeth Wery Laurie Wiesemann Florence Wildner J. Bryan Williams Susan Tomlinson-Wilson at Morgan Stanley Alan and Lynn Winslow Edie Winston Elizabeth Wolfe Jane Woods Anonymous

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Together we can strengthen healthcare We are the foundation for Sarasota Memorial Health Care System. We rely on the philanthropic support of the community to maintain Sarasota Memorial’s position as a nationally recognized leader, providing world-class patient care throughout our region.

Your Support Makes a Difference.

To make a donation call (941) 917-1286 or visit

smhf.org A COPY OF THE OFFICIAL REGISTRATION AND FINANCIAL INFORMATION MAY BE OBTAINED FROM THE DIVISION OF CONSUMER SERVICES BY CALLING TOLL-FREE 1-800-435-7352 WITHIN THE STATE OR BY VISITING www.freshfromflorida.com/Divisions-Offices/ Consumer-Services. REGISTRATION DOES NOT IMPLY ENDORSEMENT, APPROVAL, OR RECOMMENDATION

BY THE STATE. (REGISTRATION # CH103)

ENTHUSIASTS $ 1 0 0 - $4 9 9

ENTHUSIASTS Cecile Adams Stephen and Kay Aidlin Carolyn Albrecht Dorothy Jane Albright Constance Anderson Charles and Kathleen Angulo Roland and Betty Anthone Lynne Armington and Joseph Kerata Andrea and Carl Axelrod Vahan and Geraldine Ayvazian Gaele Barthold and Larry Weiss Jocelyn Baskey Lucia and Wesley Begg Brenda Belsito Francine Huang James and Lynette Bennett Peter Bergas and Iris Wenglin-Bergas Karen Berman Charlotte Bimba Janice Bini Barbara Blackburn Marilyn Blausten Barbara Blumfield Jerry and Gay Bowles Gay Boylston Edward and Sheila Braun Arline Breskin

Richard and Pam Brown Jim and Susan Buck Kristine Bundrant Emily Carrier Alexander and Irene Cass Stephen and Mary Ellen Cease Nancy Chiswick and Arthur Patterson Stanley and Norma Cohen Rhea Cohen Norma Cohen Margaret Coleman

George Conzalez and Patrica Gondelman Aubert Coran Linda Cornell Bill and Linda Cotter Katharine Couchot Harriet Cowan Renee Crames Dr. Donna Cubit-Swoyer Colleen Curran Richard and Paulette Curry Harold and Jacqueline D’Alessio

Kathleenn Denning Michael Doery Michael Dukes and Belle Bulwinkle Susan Dweck John and Diana Eagon Robert and Elizabeth Early Education Foundation of Sarasota County Bob Griffiths and David Eichlin ExxonMobil Foundation Arnold and Shirley Fein Iris Fein Beverly Fendrick Elizabeth Ferguson Lenore and Jeffrey Fernald Frank Fineshriber Beverly Fisher Francis Fitzpatrick Joyce Fitzpatrick Judy Fleischer Elaine and Robert Foster Milton and Carole Fox The Leda Freedman Fund Suzanne Freund Naeima Frieson David and Carol Furer Frances Gaston Dimitar and Maria Georgiev Lila Gibbs Jacqueline Giddens Bert and Susan Giroux Robert Glenn

Donations recognized from 1 October 2017 through 5 October 2018

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ENTHUSIASTS $ 1 0 0 - $4 9 9

ENTHUSIASTS CONTINUED $100 - $499 Marvin Goldblatt Jim and Joanna Grace Joseph Grande Suzanne Grant Eleanor Graves Dorothy Green Laverne Green Pamela Greer Jennifer Grondahl Lynn Grow Patti Haarz Timothy and Jennifer Hall Walter Hamer John and Dee Hamill Ross Hamilton John and Eileen Hampshire Patricia Harmon Margaret Harrison Donald Helgeson and Sue Shepard Ruth Herman Florence Star Hesler Elliott Himelfarb and Janet Minker Carol Hirschburg John and Nina Hockenberry Marion Hoercher 38

Susan Holik Oya Horiguchi Hungarian American Cultural Association Adelaide Hurst Herbert Hurwitz and Judy Feldman Carol Hyde

Joseph and Jo Ann Iaria Arlene Irons Barbara Jacoby Millicent Jaekle Oliver and Suzanne Janney Margie Jaudon Sandra Jennings-Cronsberg Roger and Patricia Courtois Susan Johnson Doris Johnson Frank and Merrill Ann Kaegi, Jr. Judith Kahn Dr. Irvin and Deborah Kalb Marilyn Katz Rosalind Kaye and Maurice Finkelstein Bruce and Barbara Keltz Eileen Kirk Marlene Kitchell Richard and Ellen Klein David and Ilene Klein Robert and Toby Kline Patricia Klugherz Diana Korzenik Beverly Koski Lydia Landa Janice M. Landauer Gail Landry Joseph and Sophia LaRusso Gail Lawrence Margie Lee

Etienne LeGrand Kathryn M. Lenz James and Ellen Levenson Arthur and Marcella Levin Georgette Levy Sandra Levy Pepper Liddell Phyllis and Phil Lieberman Terrance and Elvira Lindemann John Lindsey Sheila Worthington Lirtzman Melvin Livingston and Sandra Morrison Joyce Locklear Jan and Jack Lovelace Francine Luque Kathleen Macdonald Gerda Maceikonis Patricia and James Maguire Margaret Maguire Donald and Judith Markstein Andrew and Donna Mateer Bert and Joy Mayerhofer Kathleen McCarthy Jan McClure James and Elaine McCormack Nathalie McCulloch Dr. Terry and Thomas McDonald

Donations recognized from 1 October 2017 through 5 October 2018

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Susan T. T. Wilson Susan Wilson

Senior Vice President Senior Vice President Financial Advisor Financial Advisor 2 North Tamiami Trail 2 North Tamiami Trail Sarasota, FL,FL, 34236 Sarasota, 34236 +1 +1 941941 364-7476 364-7476 susan.t.wilson@morganstanley.com susan.t.wilson@morganstanley.com NMLS# 1255614 NMLS# 1255614 © 2017 Morgan Stanley Smith Barney LLC. © 2017 Morgan Stanley Smith Barney LLC. CRC1596709 Member SIPC. Member SIPC. CRC1596709

WOMEN SAY

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ENTHUSIASTS $1 0 0 - $4 9 9

ENTHUSIASTS CONTINUED $100 - $499 Joan and Robert Meyer Shirley Michaud Sharon Miller Timea Molnar Sandy Moore Jo Anne Moran Avalon Moses Andrew Myers and Diana Thayer Myers Dr. Phyllis Myers Anne Nagy National Fuel Gas Company Foundation Cheryl Neal Susan Neisler Karl and Ricky Newkirk Jon and Susan Newsome Marilyn Nordby Richard and Lois Noyes Kumiko Okita Mary Olha Amie Austin Oliva Wendy Pagan Jeannette Paladino Rebecca Passanante Arthur and Marilyn Penn Charitable Trust Bertha Person Sue Peterson Sharon Petty Carol Phillips Shirley Pickett Marion E. Platt Kathy Powers Clara Ramos Phyllis Refi Judy Reich Rosemary A. Reinhardt Cheryl Richards Nancy and Edward Roberts Courtney Rosenthal Libby Ross Saul and Joyce Rubenstein Jack and Lenore Rubin Sidney and Marcia Rutberg Alan and Marilyn Sachs Barnet and Edith Sack Lawrence Sage Sarasota Opera Judy and Elliot Sauertieg Phyllis Schaen

Norma Schatz Linda Schauer Molly Schechter Annarita Scott Philip and Karen Selwyn Susan Serling and David Kessler David Langhaug and Jean Shorr Langhaug Jean Simon Ira and Carole Singer Leslie Smith Jack and Barbara Sobel Jerry Soble In Loving Memory of Marilyn Soble Helen and Jerry Spindler Irene Stankevics Ken Starr Judith Stern Judilee Sterne Louise Stevens Lance Stubbs

Lois Stulberg Helen Sullivan Mary Swanton and Stanley Kozubek Peggy Sweeney Patricia A. Sweet Linda Sweetman Virginia Swentor Jim and Charlie Ann Syprett Joan Tatum Veronica and Michel Tcherevkoff Quincy Tharps Linda Thomas Carolyn Thompson Linda Thornton Tilden Ross Jewelers Dr. Martin Tucker Joan Turk Walter and Carole Ulin Augusto Velasquez Carlos Vicente

Stanley Vickers Michael Vlaisavljevich Anne R. Walsh Carolyn Warren Robin Waters Judith Waxberg Joseph and Edith Weinberger Richard and Rita Weingarten Kim Wheeler Barbara Wilcox Williams, Parker, Harrison, Dietz & Getzen Donald and Patricia Wilson Carol Wilson Ed and Mary Lou Winnick Linda Wolf Betsy Wollman Joan Wood Angelia Wood Merrill and Sheila Wynne Dodie Zehnwirth Anonymous

Donations recognized from 1 October 2017 through 5 October 2018

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N E E D A DR E S S FOR T H E DA NCE?

WE HAVE YOURS.

Shop our selection — perfect for all your events. Sarasota’s upscale consignment boutique featuring fashions, jewelry and home furnishings.

DesigningWomenSRQ.org 1226 North Tamiami Trail, Sarasota 941.366.5293

DESIGNING WOMEN BOUTIQUE Upscale Resale & Estate Liquidation

Where Fashion Meets Philanthropy A 501c3 Benefiting Local Arts & Human Services Organizations

Photography by: Markus Drew

CORPORATE SPONSORS $25,000

$7,500

$5,000 +

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CORPORATE SPONSORS $2,000

IN KIND

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Celebrations.

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FOUNDATION, GRANTS, AND PUBLIC SUPPORT $50,000 +

ALFRED & ANN GOLDSTEIN FOUNDATION

MURIEL O’NEIL FUND

AT THE COMMUNITY FOUNDATION OF SARASOTA COUNTY

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FOUNDATION, GRANTS, AND PUBLIC SUPPORT $25,000 + CHARLES HENRY LEACH II FUND

LELA D. JACKSON

FOUNDATION FOR THE ARTS

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FOUNDATION, GRANTS, AND PUBLIC SUPPORT $15,000 + FREDERIC W. AND MARGARET D. KURTZ FUND BANK OF AMERICA CLIENT FOUNDATION

$10,000 +

GILBERT WATERS CHARITABLE FUND 1

JEROME ROBBINS FOUNDATION

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FOUNDATION, GRANTS, AND PUBLIC SUPPORT $5,000 + ANNETTE J. HAGENS MEMORIAL FOUNDATION

DONALD H. & BARBARA K. BERNSTEIN FAMILY FOUNDATION

CORDELIA LEE BEATTIE FOUNDATION

GERALD AND DEBORAH HAMBURG FAMILY FOUNDATION

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FOUNDATION, GRANTS, AND PUBLIC SUPPORT $1,000 + FINE ARTS SOCIETY OF SARASOTA JELKS FAMILY FOUNDATION

RUBIN CHARITABLE FOUNDATION FAY A. SCHWEIM

MEMORIAL CHILDREN’S DANCE FUND

TARR CHARITABLE FAMILY FOUNDATION

WOMEN’S OUTREACH MINISTRY CHURCH OF THE REDEEMER

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MEDIA SPONSORS SEASON SPONSORS

SPONSORS

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THE LEGACY SOCIETY “I feel that the essence of dance is the expression of man—the landscape of his soul.

I hope that every dance I do reveals something of myself or some wonderful thing a human can be.” - Martha Graham This Season The Sarasota Ballet will perform a Martha Graham work for the first time, Appalachian Spring.

Graham is considered one of the great American Dance Icons and we are honored to have been entrusted by the Martha Graham Dance Company to perform this seminal work of hers.

It is because of The Sarasota Ballet’s reverence and passion for the many legacies of the dance world that we are given permission to perform these important works by so many of the great choreographers of the 20th Century. We are likewise honored to have been entrusted to care and preserve the legacies of many of our donors who have joined our Legacy Society, so that their passion for this Company will continue to burn brightly.

If you are interested in becoming a member of The Sarasota Ballet’s Legacy Society, please contact the Development Department at 941.225.6510.

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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

Edward Cooke

Douglas Endicott

Ann Fenton

Ellen Goldman

Sydney Goldstein

Jorgen and Gudrun Graugaard

Richard Kemmler

Pat and Ann Kenny

Ernie Kretzmer

Lydia Landa

Julia Laning

Harry Leopold and Audrey Robbins

Richard and Helen March

Joan Mathews

Mary Jane McRae

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

Anonymous

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Lynn Chancer

Jonathan Strickland 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 the Development Department at 941.225.6510.

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

The Sarasota Ballet 5555 North Tamiami Trail Attention: Development Sarasota, FL 34243 Department

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 the Development Department at lstroman@sarasotaballet.org or 941.225.6510.

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 the Development Department.

CHARITABLE IRA ROLLOVER The Charitable IRA 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 the Development Department.

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

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Celebrations.

Adventures.

Memories.

it continues to be our pleasure.

Philip Mancini & Michael Klauber Co-Proprietors

DONOR BENEFITS 2018 - 2019 S E A S O N

Luminary $100,000+

Invitation to Dinner with Director Iain Webb, Executive Director Joseph Volpe, Assistant Director Margaret Barbieri, and Principal Dancers, Photo with dancers at a dress rehearsal, 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, Executive Director Joseph Volpe, 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, 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 In Studio Rehearsal

Contributor $3,000 - $4,999

Invitation to Annual Appreciation Lunch, Concierge Ticket Service, 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.

BIOGRAPHIES

IAIN WEBB D I R E C TO R

Born in Yorkshire, England, Iain Webb started ballet at 14 before moving 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) and 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. Under his leadership the Company will have performed 154 ballets and divertissements by the end of the 2018 - 2019 Season, including 39 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. In August of 2018, The Sarasota Ballet returned to the Joyce Theater for the Company’s second week-long residency.

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NEWS JAZZ NPR CLASSICAL WUSF.ORG A Service of the University of South Florida

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 serves as a Senior Consultant for Hudson Scenic Studios advising on all aspects of management, labor negotiation, and strategic planning. He also 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). However 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. In addition to guesting, Barbieri also performed worldwide with The Royal Ballet.

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. 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 (Le 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. During her tenure, 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; 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 at The Sarasota Ballet she has staged 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 Loved and The American; Darrell’s Othello; Bourne’s Boutique; Bintley’s Four 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 been invited to judge at numerous ballet competitions across the globe, including Brazil, Japan, South Africa, the United States, and Europe. 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.

Having previously staged several ballets for The Sarasota Ballet, Barbieri was appointed Assistant Director 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, Shostakovich Suite, which premiered in October 2011. Following this ballet, Graziano choreographed four new ballets before being appointed Resident Choreographer by Iain Webb on stage in 2014 after a performance of Symphony of Sorrows. 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, En las Calles de Murcia, Sonata in Four Movements, The Jolly Overture, and Somewhere. In total, Graziano has choreographed seven, one-act ballets and three divertissements.

Graziano is also a Principal Dancer with The Sarasota Ballet.

PAVEL FOMIN

KATE HONEA

Ballet Master

Assistant Ballet Mistress

Pavel Fomin was born in the Ukraine and received his ballet training at the Odessa Ballet School and the Kirov Ballet. 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.

Since joining The Sarasota Ballet in 1991 as Ballet Master, Fomin has staged many ballets and pas de deux for the Company.

Kate Honea is honored to start her new position of Assistant Ballet Mistress for the 2018 2019 season under the guidance of Iain Webb and Margaret Barbieri.

Honea started her training in The Sarasota Ballet School 24 years ago. She has danced with the company for 17 years, taught in The Sarasota Ballet School for fourteen years, and choreographed four works for the company and several End-of-Year performances for the School.

Honea looks forward to expanding her experience from the stage to helping out in the studio. Her goal is to help pass on the special coaching and knowledge that Iain and Margaret have passed on personally to her, and to preserve and maintain the high level of performances that The Sarasota Ballet is known for.

OCTAVIO MARTIN

JAMES JORDAN

Assistant Ballet Master

Company Teacher

A native of Havana, Cuba, Martin received his training at the Cuban National Ballet School, joining the National Ballet of Cuba in 1994, and in 2001 was promoted to Primer Bailarin. In 2004 Martin was awarded the Alejo Carpentier medal, one of the highest honors an artist can receive in Cuba. For two years he was a Principal Guest Artist with the Royal Winnipeg Ballet of Canada and in 2006 he joined The Sarasota Ballet, rising to Principal Dancer in 2008, where he danced leading roles in ballets by Ashton, Balanchine, de Valois, and Wheeldon. From 2012 to 2017 Martin served as Artistic Director of Brandon Ballet and returned to The Sarasota Ballet in 2017 as an Education faculty member. This Season Martin was promoted to Assistant Ballet Master with the Company.

Jordan began his formal dance training at Richmond. He joined Kansas City Ballet under the directorship of Todd Bolender. While Principal Dancer with the company, 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.

After Bolender’s 2006 passing, Jordan was named Artistic Trustee for all Bolender ballets before joining The Sarasota Ballet in 2014. In October 2018 Amanda McKerrow, John Gardner, and Jordan were named as heads of the Antony Tudor Ballet Trust.

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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 Sir Frederick Ashton’s Scènes de ballet

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 Loved; Wright’s Summertide.

Sir Frederick Ashton’s La Fille mal gardée

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, Who Cares?; Bintley’s ‘Still Life’ at the Penguin Café; de Mille’s Rodeo; de Valois’ The Rake’s Progress; Fokine’s Les Sylphides; Gomes’ Dear Life...; Nijinsky’s L’Après-midi d’un Faune; Nureyev’s Raymonda Act III; Tharp’s In the Upper Room, Nine Sinatra Songs; Taylor’s Airs; Tuckett’s Changing Light, Lux Aeterna; Tudor’s Lilac Garden; Wheeldon’s The American, There Where She Loved.

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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 Sir Frederick Ashton’s The Two Pigeons

KATE HONEA Joined The Sarasota Ballet in 2002 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, Marguerite and Armand; Balanchine’s Apollo, Rubies, Serenade, The Four Temperaments, Theme and Variations, Who Cares?; Bintley’s ‘Still Life’ at the Penguin Café; Bruce’s Sergeant Early’s Dream; Flindt’s The Lesson; Fokine’s Les Sylphides, Petrushka; 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, Wright’s Summertide.

Sir Frederick Ashton’s The Dream

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, The Dream, 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; Gomes’ Dear Life...; Fokine’s Les Sylphides, Petrushka; MacMillan’s Concerto; Pavlova’s The Dragonfly solo; Nureyev’s Raymonda Act III; Taylor’s Airs; Tharp’s In the Upper Room; Tuckett’s Changing Light; Tudor’s Lilac Garden, Gala Performance; 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 Antony Tudor’s The Leaves are Fading

KATELYN MAY Joined The Sarasota Ballet in 2017 Promoted to Principal in 2018 Lead and Featured Roles include: Ashton’s The Dream, Meditation from Thaïs and Monotones I; Balanchine’s Theme and Variations; Bintley’s ‘Still Life’ at the Penguin Café; Gomes’ Dear Life…; Graziano’s Symphony of Sorrows, Valsinhas; Hart’s John Ringling’s Circus Nutcracker; Petipa’s Le Corsaire pas de deux; Taylor’s Airs; Tuckett’s The Secret Garden; Tudor’s The Leaves are Fading; Wheeldon’s There Where She Loved.

George Balanchine’s Diamonds

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 Marcelo Gomes’ Dear Life...

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, The Dream, 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, Theme and Variations, Who Cares?; Bintley’s ‘Still Life’ at the Penguin Café; Bruce’s Sergeant Early’s Dream; Darrell’s Othello; de Valois’ Checkmate; Fokine’s Les Sylphides; Gomes’ Dear Life...; Kobborg’s Salute; Nijinsky’s L’Après-midi d’un Faune; Robbins’ Fancy Free; Tuckett’s Changing Light; Wheeldon’s The American, There Where She Loved; Wright’s Summertide.

C H A R A C T E R P R I N C I PA L Sir Frederick Ashton’s A Wedding Bouquet

RICKI BERTONI Joined The Sarasota Ballet in 2007 Promoted to Character Principal in 2014 Lead and Featured Roles include: Ashton’s A Wedding Bouquet, The Dream, Enigma Variations, La Fille mal gardée, Façade, Jazz Calendar; Balanchine’s Stars and Stripes, Prodigal Son, Who Cares?; Bintley’s ‘Still Life’ at the Penguin Café; 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

Sir Frederick Ashton’s Illuminations

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

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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 F I R S T S O LO I S T

ELIZABETH SYKES

SAMANTHA BENOIT

JAMIE CARTER

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

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 Enigma Variations, Birthday Offering, Jazz Calendar, Façade; Balanchine’s Stars and Stripes, Emeralds, Diamonds, Theme and Variations; Bruce’s Sergeant Early’s Dream; de Mille’s Rodeo; Graziano’s In a State of Weightlessness, Before Night Falls; Kobborg’s Salute; Nureyev’s Raymonda Act III; MacMillan’s Concerto; Possokhov’s Firebird; Taylor’s Company B; Tudor’s Continuo.

Featured Roles include: Ashton’s A Wedding Bouquet, Tweedledum and Tweedledee, Jazz Calendar, Monotones I, Façade, The Dream; Balanchine’s Stars and Stripes, The Four Temperaments, Who Cares?; Bintley’s ‘Still Life’ at the Penguin Café; Gomes’ Dear Life...; Graziano’s In a State of Weightlessness; Hart’s John Ringling’s Circus Nutcracker; Taylor’s Company B; Wheeldon’s The American; Wright’s Summertide.

Featured Roles include: Ashton’s The Dream, 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, Airs; Tuckett’s The Secret Garden; Tudor’s The Leaves are Fading.

RICHARD HOUSE

RYOKO SADOSHIMA

Joined The Sarasota Ballet in 2018 Previous Company | The Australian Ballet

Joined The Sarasota Ballet in 2011 Promoted to Soloist in 2016

Featured Roles with The Australian Ballet included: Ashton’s Monotones II; Balanchine’s The Four Temperaments; Bintley’s Faster; Gielgud’s Giselle; Kylián’s Forgotten Land, Petite Mort; McAllister’s The Sleeping Beauty; Murphy’s Nutcracker - The Story of Clara; Tharp’s In the Upper Room; Stewart’s Monument. House has also choreographed for The Australian Ballet.

Featured Roles include: Ashton’s A Wedding Bouquet, Monotones I, Façade, The Two Pigeons; Balanchine’s Bugaku, Emeralds, Serenade, Theme and Variations, Who Cares?; Graziano’s In a State of Weightlessness, Before Night Falls; Layton’s The Grand Tour; MacMillan’s Concerto; Tuckett’s The Secret Garden; Tudor’s Continuo, The Leaves are Fading; 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

WESLLEY CARVALHO

IVAN DUARTE

Joined The Sarasota Ballet in 2016 Promoted to Coryphée in 2018

Joined The Sarasota Ballet in 2016 Promoted to Coryphée in 2018

Featured Roles include: Bintley’s ‘Still Life’ at the Penguin Café de Valois’ Checkmate Graziano’s Symphony of Sorrows North’s Troy Game Wheeldon’s There Where She Loved

Featured Roles include: Ashton’s The Dream Gomes’ Dear Life...

Graziano’s Valsinhas Tuckett’s Changing Light Vainonen’s Flames of Paris

THOMAS GIUGOVAZ

DAGNY HANRAHAN

Joined The Sarasota Ballet in 2016 Promoted to Coryphée in 2018

Joined The Sarasota Ballet in 2010 Promoted to Coryphée in 2015

Featured Roles include: Ashton’s The Dream Ashton’s Illuminations Ashton’s Monotones I Gomes’ Dear Life...

Hart’s John Ringling’s Circus Nutcracker

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Featured Roles include: Ashton’s Façade Balanchine’s Theme and Variations North’s Troy Game Taylor’s Airs Tudor’s The Leaves are Fading

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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

NICOLAS MORENO

FILIPPO VALMORBIDA

Joined The Sarasota Ballet in 2016 Promoted to Coryphée in 2018

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

Featured Roles include: Ashton’s Monotones I Balanchine’s Theme and Variations Bintley’s ‘Still Life’ at the Penguin Café Graziano’s Symphony of Sorrows Tuckett’s The Secret Garden

Featured Roles include: Balanchine’s Bugaku Bintley’s ‘Still Life’ at the Penguin Café Hart’s John Ringling’s Circus Nutcracker North’s Troy Game Tudor’s The Leaves are Fading

CHRISTINE WINDSOR Joined The Sarasota Ballet in 2007 Promoted to Coryphée in 2010 Featured Roles include: Ashton’s Les Patineurs de Valois’ The Rake’s Progress Layton’s The Grand Tour Tudor’s The Leaves are Fading 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

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ALEJANDRO ANDRADE

JULIANNE BLUNT

ASIA BUI

Joined The Sarasota Ballet in 2018 Previous Company | Miami City Ballet

Joined The Sarasota Ballet in 2017 Trained at | Butler University

Joined The Sarasota Ballet in 2015 Previous Company | Houston Ballet

RACHEL COSTIN

HARVEY EVANS

MADYSEN FELBER

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

Joined The Sarasota Ballet in 2018 Trained at | Elmhurst Ballet School

Joined The Sarasota Ballet in 2015 Trained at | Canada’s National Ballet School

CLAIRE GLAVIN

CHRISTINA HARWARD

MIKAYLA HUTTON

Joined The Sarasota Ballet in 2018 Previous Company | Oklahoma City Ballet

Joined The Sarasota Ballet in 2017 Previous Company | Estonian Ballet

Joined The Sarasota Ballet in 2018 Previous Company | Atlanta Ballet II

2018 - 2019 S E A S O N

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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

JANAE KORTE

YURI MARQUES

LAUREN OSTRANDER

Joined The Sarasota Ballet in 2018 Previous Company | Ballet West II

Joined The Sarasota Ballet in 2018 Previous Company | Royal New Zealand Ballet

Joined The Sarasota Ballet in 2018 Previous Company | National Ballet of Canada

DANIEL PRATT

IVAN SPITALE

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

Joined The Sarasota Ballet in 2018 Trained at | Ballettschule Theater Basel

LENIN VALLADARES

KELLY WILLIAMS

Joined The Sarasota Ballet in 2018 Previous Company | Atlanta Ballet II

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

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APPRENTICE PROGRAM

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CLAIRE BOREN

JACK KADZIS

CLAYTON MCKENNA

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

Second Season Apprentice Trained at Boston Ballet School

Second Season Apprentice Trained at School of American Ballet

YUYA MIZUSHIMA

ANNA PELLEGRINO

TZU-TING SU

Trained at The Sarasota Ballet Studio Company (17/18) Royal Winnipeg Ballet School

Trained at Eastern Connecticut Ballet

Trained at New Zealand School of Dance

GILLIAN WOREK

PAIGE YOUNG

Trained at Indiana University

Trained at School of Pennsylvania Ballet

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STUDIO COMPANY

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TOM ATTARD-MANCHE

MATTISON BEDINGHAUS

ERIN BURT

Trained at Conservatoire de Paris

Trained at Margaret Barbieri Conservatory

Trained at University of North Carolina School of the Arts

AGUSTIN DE SOUSA

EMILY HELMAN

CAITLIN HERZOG

Trained at Cary Ballet Conservatory

Trained at Boston Ballet School

Trained at The HARID Conservatory

ISAAC HOLLIS

DOMINIQUE JENKINS

Trained at Fort Wayne Ballet

Trained at Richmond Ballet

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STUDIO COMPANY

OLIVIA MCALPINE

YUKI NISHIZAWA

YUKI NONAKA

Trained at Canada’s National Ballet School

Trained at San Francisco Ballet School

Trained at English National Ballet School

EMELIA PERKINS

CADENCE ROLLAND

TOMONORI SEKIGUCHI

Trained at Kansas City Ballet

Studio Company Second Season Trained at BalletNova Center for Dance

Trained at The National Conservatory Dance School in Lisbon

The Sarasota Ballet ’s Studio Company is the stepping stone from pre -professional trainee to Company member. This t wo -year program provides dancers with a comprehensive curriculum as well as oppor tunities to work alongside the professional Company. Dancers have a week ly rotation into Company class, plus understudy, and 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.

Members of The Sarasota Ballet ’s Studio Company have gone on to join professional companies including The Sarasota Ballet, Ballet H ispánico, Ballet Austin, and The Washington Ballet.

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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

MARCELO GOMES Guest Artist for Victorian Winters, Transcending Movement, and Poetry and Liberty

Marcelo Gomes is a principal dancer who is widely admired for his combination of technical prowess, fine acting, and beautiful form.

Gomes was born in Manaus, Brazil, began his dance studies at the age of 5 at the Helena Lobato and Dalal Achcar ballet schools in Rio de Janeiro.

Upon winning the Revelation Prize at the Festival of Dance in Joinville in 1993, he traveled to the United States to continue his training at The HARID Conservatory in Boca Raton, Florida, as well as at the schools of the Boston Ballet, Houston Ballet, and Cuballet, where he studied under Alicia Alonso. Gomes was awarded second place at the National Society of Arts and Letters in 1994, and was the recipient of the Hope Prize at Lausanne in 1996, after which he spent a year at the school of the Paris Opera Ballet. Gomes also received the prestigious Benois de la Danse award in Moscow.

Gomes joined American Ballet Theatre in 1997 and was promoted to Soloist in 2000 and Principal Dancer in 2002.

Dancing with the company until 2017, 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. 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, Matthew Bourne’s New Adventures, New York City Ballet and many other prestigious companies. 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, American Ballet Theatre, The Sarasota Ballet, and The Washington Ballet.

Vutti Photography

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NOVEMBER 11 Author Abigail Pogrebin, My Jewish Year Luncheon in partnership with ORT DECEMBER 3 Women’s Day Featuring Nancy Spielberg DECEMBER 17 In the Fiddler’s House – A Night of Klezmer Featuring Itzhak Perlman in partnership with The Perlman Music Program/Suncoast JANUARY 8 Newcomer’s Reception JANUARY 15 25 Years After the Oslo Accords Featuring Abe Foxman, former National Director, Anti-Defamation League

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

MATHIAS DINGMAN Principal Dancer with Birmingham Royal Ballet Guest Artist for Sir Frederick Ashton’s Rhapsody

Mathias Dingman was born and raised in South Carolina, USA. He graduated from the Kirov Academy of Ballet in Washington, DC under the direction of Anatoli Kucheruk. During this time he won numerous international ballet competitions including the gold medal at the Korea International Ballet Competition in 2005, the gold medal at the prestigious Varna International Ballet Competition in 2006, and the gold medal at the Youth America Grand Prix in 2006. Mathias began his professional ballet career at The Birmingham Royal Ballet in 2006. He was promoted to Principal Dancer in 2015 where he has danced many of the leading roles of The Birmingham Royal Ballet repertoire.

Lead and featured roles include Ashton’s The Dream (Puck) and La Fille mal gardée (Alain); Balanchine’s Slaughter on Tenth Avenue (Gangster) and Theme and Variations (Principal male); Bintley’s The Prince of the Pagodas (Salamander Prince), Cinderella (Prince), Aladdin (Aladdin, Djinn of the Lamp), and ‘Still Life’ at the Penguin Café (Brazilian Woolly Monkey); Cranko’s Card Game (Joker, Ten of Clubs, Three of Hearts); MacMillan’s Romeo and Juliet (Romeo, Mercutio) and Concerto (First Movement); Tharp’s Nine Sinatra Songs (Forget Domani) and In the Upper Room; and Wright’s productions of Coppélia (Franz), The Nutcracker (Prince, ‘Russian Dance’, ‘Spanish Dance’), The Sleeping Beauty (Prince Florimund, Bluebird, pas de quatre), and Peter Wright and Galina Samsova’s production of Swan Lake (Prince Seigfried, Benno). Roles created on Dingman include Ariel in David Bintley’s The Tempest and a role in Jessica Lang’s 2012 Lyric Pieces. In 2017 Mathias performed for Prince Charles at Buckingham Palace. In addition to performing for royalty he has also been a Guest Artist with English National Ballet and Star Dancers in Tokyo, Japan earlier this year.

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A SEASON OF TRIBUTES 2018 - 2019 S E A S O N

JEROME ROBBINS

C E N T E N N I A L C E L E B R AT I O N | 11 O C TO B E R 1918

2018 marks the centennial of Jerome Robbins (1918–1998). Having created film, theater and dance that has resonated for generations, Robbins is rightfully regarded as a towering figure in American cultural history.

Throughout the year, the Jerome Robbins Centennial celebrates the life and career of the cultural giant with performances, screenings, events, exhibitions, and discussions around the world.

The Sarasota Ballet celebrates the 100th birthday of Jerome Robbins with the Company Premiere of The Concert (or, The Perils of Everybody).

Performed as a part of Masters of Dance | 16 - 17 November 2018

SIR FREDERICK ASHTON 30 T H A N N I V E R S A R Y O F H I S PA S S I N G | 18 AU G U S T 1988

The founding Choreographer of The Royal Ballet, Sir Frederick Ashton is considered the greatest British Choreographer and one of the true greats of the 20th Century. Passing away at the age of 83 on 18 August 1988, 2018 marks 30 years since his death.

The Sarasota Ballet celebrates the life of Sir Frederick Ashton with the Company Premiere of Rhapsody and revivals of Les Patineurs and Enigma Variations.

Rhapsody is performed as a part of Masters of Dance | 16 - 17 November 2018 Les Patineurs and Enigma Variations are performed as a part of Victoria Winters 14 - 15 December 2018

GEORGE BALANCHINE

35 T H A N N I V E R S A R Y O F H I S PA S S I N G | 30 A P R I L 1983 Founder of New York City Ballet and the School of American Ballet, George Balanchine is considered by most as the father of ballet in America. As one of the great choreographers of the 20th Century, Balanchine’s legacy lives on through his incredible choreography and through the dancers and companies he founded and inspired.

The Sarasota Ballet celebrates the life of George Balanchine with performances of Diamonds.

Performed as a part of Victoria Winters | 14 - 15 December 2018

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A SEASON OF TRIBUTES 2018 - 2019 S E A S O N

ENIGMA VARIATIONS

50 T H A N N I V E R S A R Y | 25 O C TO B E R 1968

Choreographed by Sir Frederick Ashton in 1968, Enigma Variations is an extraordinary interpretation of Sir Edward Elgar’s beloved score by the same name. Bringing to life the friends and family of Elgar, who inspired the original score, Ashton presents an imaginary gathering of Elgar and his friends at his home as he waits for a telegram from the celebrated conductor Hans Richter for news of his latest creation, Enigma Variations.

Performed as a part of Victorian Winters | 14 - 15 December 2018

DAME MARGOT FONTEYN

C E N T E N N I A L C E L E B R AT I O N | 18 MAY 1919

2019 marks 100 years since the birth of Dame Margot Fonteyn. Appointed

by Queen Elizabeth II as Prima Ballerina Assoluta of The Royal Ballet, Fonteyn’s distinguished career made her a household name the world over.

The Sarasota Ballet celebrates the life of Dame Margot Fonteyn with the Company Premiere of Apparitions.

Performed as a part of Poetry and Liberty | 8 - 9 March 2019

2018 - 2019 SEASON B A L L E T F O U N DATAT I O N S A N D T R U S T S

The Frederick Ashton Foundation exists to enrich the legacy of Sir Frederick Ashton (1904 – 1988) and his ballets. The Ashton ballets performed this Season are some of over one hundred ballets created by Sir Frederick Ashton™. The Frederick Ashton Foundation, a registered charity working independently of, but in close association with, The Royal Ballet, exists to enrich the legacy of Frederick Ashton™ and his ballets. For further information, please go to www.frederickashton.org.uk.

The performances of Diamonds and Stars and Stripes, Balanchine® Ballets, are presented by arrangement with The George Balanchine Trust and have been produced in accordance with the Balanchine Style® and Balanchine Technique® Service standards established and provided by the Trust.

Appalachian Spring is presented by arrangement with Martha Graham Resources, a division of the Martha Graham Center of Contemporary Dance.

The Concert is performed by permission of The Robbins Rights Trust.

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Your ARTS

26 - 28 O C TO B E R 2018

FSU CENTER FOR THE PERFORMING ARTS

PAQUITA ICONOGRAPHIC

PAQUITA Like many ballets taken into the Russian repertoire in the nineteenth century, Paquita was originally created for the Paris Opera Ballet based on a dramatic scenario by Paul Foucher set in the Napoleonic occupation of Spain. In the story, a gypsy girl thwarts an attempted assassination of a French officer before discovering she herself is of noble birth.

When first given at the Paris Opera Ballet on April 1, 1846, Paquita provided Carlotta Grisi with a resounding triumph.

Ernest Deldevez’s music was not particularly remarkable, but the choreographer, Joseph Mazilier, skillfully exploited Grisi’s exceptionally developed pointe work and arranged some effective dances for the concluding ball scene. Among these was a pas de manteaux that became celebrated because half of the female corps de ballet appeared in travesty. The ballet was dropped from the Paris repertoire in 1851, not long after Grisi’s departure.

Two months after its Paris premiere, Grisi brought Paquita to London, where on June 3, 1846, it was presented at the Theatre Royal, Drury Lane. But it was in Russia that it was to take root and survive. The revivals of Paquita in St. Petersburg and Moscow were both associated with the appearance in Russia of Marius Petipa (Lucien’s brother), who was destined in later years to raise ballet in Imperial Russia to unscaled heights of splendor. On September 26, 1847 he made his debut in Paquita at the Bolshoi Theatre, St. Petersburg, playing the principal male role and partnering the great Russian ballerina Elena Andreyanova. He may also have taken a hand in the production itself, although the choreography was credited to Lucien and Marius’ father, Jean Petipa. When he revived the ballet in 1881, however, he asked Ludwig Minkus to provide music for a Pas de Trois and Grand Pas to be added to the last act.

Although the complete ballet was eventually lost before the Russian revolution, Petipa’s grand pas, performed by the prima ballerina, premier danseur, four soloists, and eight corps de ballet dancers, has been preserved and has become beloved by both dancers and audiences.

Production by

Galina Samsova

Music by

Ludwig Minkus

Staged by Lighting Design by

Margaret Barbieri Aaron Muhl

GALINA SAMSOVA Choreographer Born in Stalingrad, Galina Samsova began her career with the Kiev Ballet. She emigrated to Canada in 1960, although she later returned to Kiev as a guest artist to dance in Swan Lake and to undertake research for the Sadler’s Wells Royal Ballet production.

After dancing with the National Ballet of Canada, she made her West European debut in Orlikovsky’s production of Cinderella, for which she won a gold medal in the Paris International Dance Festival.

She then joined London Festival Ballet as a Principal. Later she and André Prokovsky formed their own small company, the New London Ballet, which from 1972 to 1977 toured five continents with a repertoire consisting mostly of specially created works.

She first danced with SWRB as a guest in 1978 and joined as a Principal and teacher in 1980. Her roles included the title roles in Giselle, Raymonda Act III, and Papillon, La Fille mal gardée (Lise), Las Hermanas (Eldest Sister), La Fête étrange (the Bride), and roles in Concerto and Les Sylphides. In 1980 she produced the grand pas from Paquita for the Company, dancing the leading role, and in 1981 she collaborated with Peter Wright on a new production of Swan Lake, also dancing Odette/Odile at the first performance —she has since staged it on a number of companies around the world. She also appeared as Carabosse in SWRB’s first performance of Peter Wright’s production of The Sleeping Beauty.

In addition, she has created roles in MacMillan’s Quartet, Prokovsky’s Vocalise Opus 34, and the Woman in Seymour’s Intimate Letters, among other ballets. From 1990 to 1997 Miss Samsova was Artistic Director of Scottish Ballet. Since then she has pursued a freelance career as a master teacher and coach.

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PAQUITA FSU CENTER FOR THE PERFORMING ARTS

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LUDWIG MINKUS Composer The Austrian-born composer and violin virtuoso is most noted for the music he composed while serving as Ballet Composer of the St. Petersburg Imperial Theatres in Russia where he spent most of his life writing music for the renowned Ballet Masters Arthur Saint-Leon and Marius Petipa. Among the composer’s most celebrated compositions for these ballet masters were La Source (1866; composed jointly with Leo Delibes), Don Quixote (1869); and La Bayadère (1877). During his career, Minkus also wrote a substantial amount of supplemental material for insertion into already existing ballets. Among these pieces, Minkus is most noted for the Grand Pas Classique, Pas de trois, and Mazurka des enfants written for Marius Petipa’s 1881 revival of the ballet Paquita. Today, Minkus’ ballet music is some of the most popular and often-performed in all of ballet, an integral part of the traditional classical ballet repertoire.

First Performed by the Paris Opera Ballet 1 April 1846 First Performed by The Sarasota Ballet 29 January 2010 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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SYMPHONY OF SORROWS ICONOGRAPHIC

SYMPHONY OF SORROWS

Choreography by

Symphony of Sorrows, choreographed by Ricardo Graziano, portrays people’s reaction towards death and the loss of a loved one.

Graziano described the influence behind the piece coming from the fact that sometimes people drown themselves in their denial, anger, guilt, or craziness, and that help from loved ones is needed to bring them back to reality and sanity.

“Having the opportunity to showcase my Symphony of Sorrows this summer at The Joyce Theater was a real honor. New York is a mecca of dance here in the United States, and I was so grateful to Iain to have this opportunity to have this work performed there.

“Reviving the work this summer also gave me the opportunity to watch the ballet with a mature and more experienced eye, allowing me to tweak little imperfections from the past and further explore the emotions behind each duet. I look forward to bringing Symphony of Sorrows back for our Sarasota audience.”

- Ricardo Graziano

Music by Lighting Design by

Ricardo Graziano Henryk Mikołaj Górecki 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, 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, Who Cares?; Bintley’s ‘Still Life’ at the Penguin Café; de Mille’s Rodeo; de Valois’ The Rake’s Progress; Fokine’s Les Sylphides; Gomes’ Dear Life...; Nijinsky’s L’Après-midi d’un Faune; Nureyev’s Raymonda Act III; Tharp’s In the Upper Room, Nine Sinatra Songs; Taylor’s Airs; Tuckett’s Changing Light, Lux Aeterna; Tudor’s Lilac Garden; Wheeldon’s The American, There Where She Loved.

In 2011 Ricardo Graziano was given the opportunity by Iain Webb to choreograph his first ballet, Shostakovich Suite, which premiered in October 2011. Following this ballet, Graziano choreographed four new ballets before being appointed Resident Choreographer

by Iain Webb in 2014 after a performance of Symphony of Sorrows.

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 for The Sarasota Ballet’s March 2013 Gala, Valsinhas in May 2013, Before Night Falls in February 2014, En las Calles de Murcia in March 2015, Sonata in Four Movements in August 2016 at the 1932 Criterion Theatre in Bar Harbor Maine, and The Jolly Overture and Somewhere for The Sarasota Ballet’s April 2018 Gala.

In total, Graziano has choreographed seven, one-act ballets and three divertissements.

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SYMPHONY OF SORROWS FSU CENTER FOR THE PERFORMING ARTS

HENRYK MIKOŁAJ GÓRECKI

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Composer

Henryk Mikołaj Górecki (1933-2010) was a Polish composer of contemporary classical music who became a leading figure of the Polish avant-garde during the post-Stalin cultural thaw. Born in Silesia, his music was influenced by its mixture of Polish, Czech, and German cultures as well as folk art. His music of the ‘50s and ‘60s was classified as dissonant modernism, but in the ‘70s he moved toward the minimalism exemplified by his Third Symphony, Symphony of Sorrowful Songs, written in 1976 to commemorate those lost in the Holocaust. Dismissed by critics outside Poland, a new recording of the symphony released seventeen years after it was composed became an international hit.

Although its sales far surpassed what most symphonic recordings by 20th century composers earned, this success failed to generate equal interest in Górecki’s other works. These include four symphonies, orchestral music, three string quartets, chamber music, and vocal works for solo, choral, and oratorio settings.

Commisioned by The Sarasota Ballet First Performed by The Sarasota Ballet 27 April 2012 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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APPALACHIAN SPRING ICONOGRAPHIC

APPALACHIAN SPRING

Choreography by Music by Design by Staged by

From the Depression years through World War II and beyond, US art explored its own culture, history, and narratives, rejecting many European influences. Martha Graham, at the zenith of her powers, had initiated her version of this phenomenon with her landmark solo Frontier (1935), honoring her own pioneer ancestry in a first collaboration with the designer Isamu Noguchi. Aaron Copland had enjoyed major hits with his ballet scores for Billy The Kid (1938) and Rodeo (1942).

Financed by the Coolidge Foundation, Graham commissioned a new score from Copland for a ballet with “an American theme.”

They collaborated by letter between Mexico and California on Ballet for Martha, which would be retitled, Appalachian Spring, taken from a Hart Crane poem. Copland’s inspiration came from a book Songs, Dances and Rituals of the American Shakers, which included the beautiful 1848 Shaker hymn Simple Gifts featured in the ballet. Against Noguchi’s skeleton set of a framework farmhouse and fence, Graham presents a spring celebration of 19th century American Puritan pioneers. It’s hard to improve on the Los Angeles Times summary of the ballet: “A young farm couple ruminate on their lives before getting married and setting up house in the wilderness. An itinerant preacher delivers a sermon. An older pioneer woman oversees the events with sympathy and wisdom. The newlyweds muse on their future as night falls. In the course of the dance, Graham reveals the inner lives of the four principal characters - Wife, Husbandman, Pioneer Woman and Preacher. She shows that the couple will face a future that will not be all sweetness and light, but she also draws out the private and shared emotional resources they will be able to bring to the challenges. Such is the power of Graham’s images, however, that this very particular story broadens out to become a parable about Americans conquering a new land.”

Graham was 50 when she first played the bride to the farmerhusband of Erick Hawkins (the love of her life) while Merce Cunningham danced the preacher, and May O’Donnell the pioneer woman. Agnes de Mille described the ballet, imbued with Graham’s love for Hawkins, as “a love letter, a dance of hope, budding, fresh and beautiful.” Both Graham’s ballet and Copland’s score (which won the 1945 Pulitzer Prize for Music) are American classics of enduring impact and popularity.

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Lighting Design by

Martha Graham Aaron Copland Isamu Noguchi Peggy Lyman Hayes Peter Sparling Beverly Emmons

MARTHA GRAHAM Choreographer Martha Graham (1894-1991) is recognized as a primal artistic force of the 20th Century. She was named “Dancer of the Century” by Time and has been compared with other creative giants such as Picasso, Einstein, Stravinsky, and Freud. She created 181 ballets and a technique that revolutionized dance throughout the greater part of the past century. Using the founding principles of contraction and release, she built a vocabulary of movement to “increase the emotional activity of the dancer’s body,” exploring the depth and diversity of human emotion. Her ballets were inspired by a wide range of sources from the American frontier to Greek mythology. She created and portrayed prominent women, including Clytemnestra, Jocasta, Medea, Phaedra, Joan of Arc, and Emily Dickenson. During her 70 years of creating dance, she collaborated with other great artists – Noguchi, Copland, Barber, and Schuman, as well as her mentor Louis Horst among others. She is recognized for her groundbreaking work in all aspects of the theater – use of time, space, lighting, costumes, sets, and music.

Her company was a training ground for many generations of choreographers including Cunningham, Taylor, and Tharp. At the Neighborhood Playhouse, she is said to have changed the course of American acting through students such as Bette Davis, Gregory Peck, Tony Randall, and Orson Wells. Her creative genius earned numerous honors and awards, including the Medal of Freedom and the National Medal of the Arts. Martha Graham’s extraordinary legacy lives on in the work of the Martha Graham Dance Company, Ensemble and School, and in the students worldwide studying her technique and performing her masterworks.

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AARON COPLAND Composer Often hailed as “the Dean of American music,” Aaron Copland was born 14 November 1900 in Brooklyn into a Lithuanian Jewish immigrant family (originally named Kaplan). His musical mother ensured that all five of her children developed musical talents. Aaron, the youngest, studied piano and composition with Leopold Wolfssohn and then with Nadia Boulanger in Paris where he participated fully in the heady 1920s of the American expatriate “Lost Generation,” travelling widely in Europe before returning to New York in 1925. His 1920s work displayed a strong Jazz and Modernist influence.

In the 1930s, Copland continued to travel, compose, teach, and write, but aimed to compose more accessible work, and drew close to the political left, associating with Lee Strasberg’s Group Theater. Copland’s wider range included Hollywood film scores Of Mice and Men and Our Town, radio broadcasts, and incidental music for plays and ballets. In 1936 came his first major signature work, El Salon Mexico, and in the 1940s major acclaim and financial security with the hugely popular scores including Rodeo, Appalachian Spring for Martha Graham, Lincoln Portrait, Fanfare for the Common Man, and his Third Symphony. In the 1950s, Copland became interested in experimental music, notably Schonberg, Webern, Berg, Takemitsu, and Cage. In the 1960s he shifted to conducting, feeling himself short of creative ideas. A calm, affable and famously generous man, Copland guarded his privacy and died 2 December 1990, leaving a large fortune to the Aaron Copland Foundation for Composers.

ISAMU NOGUCHI Designer Born 1904 in Los Angeles, the illegitimate son of Japanese poet Yone Noguchi and American writer Léonie Gilmour, Noguchi grew up in Japan before attending school in Indiana and studying medicine at Columbia University. Dropping out of University he went on to study sculpture in 1924, and afterwards began a brief apprenticeship with Gutzon Borgium. With a Guggenheim Scholarship, Noguchi studied with Brancusi in Paris and travelled widely, absorbing ideas and influences in London, Japan, China, and India. Back in 1930s New York, Noguchi had two solo exhibitions, applied for public commissions, and undertook portrait sculptures, including Martha Graham, for whose landmark solo Frontier he designed. Based in Greenwich Village in the 1940s, Noguchi created sets for Martha Graham and Merce Cunningham, and worked for the Herman Miller company on an influential 1947 collection of modernist furniture. From the 1950s onwards, Noguchi travelled and developed an illustrious career in stage design, public gardens and monuments, sculpture, and interior design items. At his 1988 death, aged 84, laden with honours and awards, Noguchi was hailed by The New York Times as “a versatile and prolific sculptor whose earthy stones and meditative gardens bridging East and West have become landmarks of 20th-century art.”

PEGGY LYMAN HAYES Repetiteur Peggy Lyman Hayes has been affiliated with the Martha Graham Center as a Principal Dancer, Company Rehearsal Director, Director of Graham II, School Senior Faculty, and Regisseur for the Martha Graham Resources since 1973.

Additional directing posts include Artistic Director of Peggy Lyman Dances, Hartford Ballet, and Dance CT. She was a founder in 1994 of the University of Hartford’s Hartt School Dance Division, was awarded an Honorary Doctorate from the University of Hartford in 2016, and currently serves on the Hartt School’s Board of Directors. Ms. Lyman Hayes is being honored at this year’s 25th anniversary of the CT Women’s Hall of Fame November 5.

PETER SPARLING Repetiteur Peter Sparling is the Rudolf Arnheim Distinguished University Professor Emeritus of Dance at University of Michigan. A graduate of Interlochen Arts Academy and The Juilliard School, Sparling was a member of the José Limón Dance Company (1971-73) and principal dancer with Martha Graham Dance Company (1973-87). An interdisciplinary artist/scholar, he has lectured extensively, presented at international conferences, and written for Ballet Review. His screendances have been selected for festivals and television in Detroit, New York, Scotland, Paris, Germany, Lisbon, Riga, and Cannes. He will present his first solo show of his paintings in October 2018.

First Performed by the Martha Graham Dance Company 30 October 1944 First Performed by The Sarasota Ballet 26 October 2018 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

SIR FREDERICK ASHTON KNIGHT OF BRITISH BALLET

26 NOVEMBER 2018 - 6:00 PM As a part of the 30th Anniversary of the passing of Sir Frederick Ashton, join The Sarasota Ballet for a special Principal Film series in celebration of Ashton’s life and his incredible choreographic genius.

MARTHA GRAHAM AMERICAN DANCE ICON

4 FEBRUARY 2019 - 6:00 PM One of the great figures in American performing arts, Martha Graham revolutionized the world of dance. Join The Sarasota Ballet for Martha Graham - The Dancer Revealed, for an extraordinary look at one of the innovators of modern dance.

DAME MARGOT FONTEYN BALLET ROYALTY

25 MARCH 2019 - 6:00 PM Appointed by Queen Elizabeth II as Prima Ballerina Assoluta of The Royal Ballet, Fonteyn’s distinguished career made her a household name the world over. As we celebrate her centennial, join The Sarasota Ballet for an evening featuring extracts from some of her most beloved roles.

RICKI BERTONI PRINCIPAL OF THE SARASOTA BALLET

15 APRIL 2019 - 6:00 PM Join Ricki Bertoni as he shows clips from some of his favorite on stage roles so far at The Sarasota Ballet and reveals the hard work and dedication required for a dancer to prepare for these ballets.

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RHAPSODY MASTERS OF DANCE

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RHAPSODY

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

Ashton had been retired for 10 years when, as he related, “Princess Margaret came to me and said ‘you must do something for Mummy’s 80th birthday,’ (‘Mummy’ being his old friend Queen Elizabeth, the Queen Mother) which also happened to coincide with Baryshnikov insisting that he would only dance with the company on condition that I did a ballet for him. So with a gun held at my head… I pulled out all the plugs.”

“The plugs” Ashton pulled out created a flamboyant piece d’occasion featuring Baryshnikov at his bravura Kirov starriest to match the virtuoso violinist and “Devil’s fiddler” Niccolo Paganini. His final 24th caprice Rachmaninov used for an orchestral theme and variations composed in 1934 and premiered with the composer at the piano and Leopold Stokowski conducting the Philadelphia Orchestra.

So nervous was Rachmaninov about playing the tricky 24th variation that he broke his rule and downed a glass of crème de menthe before the premiere and at every subsequent performance, causing him to nickname the 24th “the Crème de Menthe Variation.” The famously popular and much anthologized 18th variation Rachmaninov described as “one for my agent.” In 1939, Rachmaninov, who had never composed for ballet, permitted Mikhail Fokine to adapt the work for his ballet Paganini, premiered by Col. de Basil’s Ballets Russes at Covent Garden, and the composer was impressed enough to write Symphonic Dances in 1940 for Fokine to choreograph, but unfortunately both men died before the ballet came to fruition.

Rhapsody presents an ensemble of six men and six women, dancing firmly in the “English” Royal Ballet style Ashton exemplified.

His leading man delivers Russian-style virtuoso steps, joined at a relatively late stage in the ballet by his female partner (originally Lesley Collier).

This was not what Baryshnikov had hoped for, or had defected to the West to do. “I was a bit disappointed: I wanted English ballet and he wanted Russian ballet. I was trying to escape from all those steps.” It was the last time he would guest with The Royal Ballet. In essence, Ashton’s Rhapsody creates a dazzling dialectic between Russian virtuosity and English elegance.

Despite being “pea green with anxiety” at the Royal premiere, Ashton was thanked for giving the Queen and Queen Mother “one of the greatest and happiest evenings they could remember.”

Sir Frederick Ashton Sergei Rachmaninov Sir Frederick Ashton William Chappell Grant Coyle 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 repertoire 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.

Leslie Collier, Sir Frederick Ashton & Sir Anthony Dowell

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SERGEI RACHMANINOV Composer Rachmaninov was born in 1873 in Novgorod into an aristocratic Russian family who claimed descent from Moldavian rulers. The fourth of six children of wealthy parents with military and musical backgrounds, he studied piano and composition at the St. Petersburg and Moscow Conservatoires while the family fell on hard times. Initial success with his opera Aleko was followed by writer’s block after the 1897 failure of his First Symphony, and he turned to conducting until 1901 when his Second Piano Concerto’s success restored his confidence and also brought him conducting engagements at the Bolshoi Theatre, Dresden, and the United States.

In 1902, Rachmaninov married his cousin Natalia Satina and they had two daughters. His career as composer and conductor prospered until unhappy with the way things were going, Rachmaninov left Russia with his family in late1917, touring as a concert pianist and guest conductor. After settling in New York, he never returned to Russia, although he donated concert earnings in support of the Red Army during World War II. His successful touring career hampered his composing: between 1918 and 1943 Rachmaninov composed only six new works, including the Fourth Piano Concerto, the Rhapsody on a Theme of Paganini, the Third Symphony, and Symphonic Dances. As he later admitted, by leaving Russia “I left behind my desire to compose: losing my country, I lost myself also.” Deteriorating health caused a move to California, where he and his wife became naturalized American citizens one month before the composer’s death in March 1943.

Rachmaninov’s works, which include three symphonies, four piano concertos, three one-act operas, chamber, choral, and solo piano works, are among the most popular in the late Romantic repertoire.

William Chappell Costume Designer A gifted and versatile artist who succeeded as both dancer and theatre designer, William (“Billy”) Chappell was born 27 September 1908 in the English midlands city of Wolverhampton and grew up in London. He studied painting at Chelsea Art School where he met lifelong friend Edward Burra, but through his friendship with Sir Frederick Ashton, Chappell soon committed himself to dance. He studied with Marie Rambert before dancing with Ida Rubinstein’s company (1928), Ballet Rambert (1929-1934), and the Vic-Wells Ballet (1934-1940).

During the 1930s, Chappell created roles in de Valois’ Job, The Haunted Ballroom, Checkmate and The Rake’s Progress as well as creating designs for Ashton’s ballets Capriol Suite, Les Rendezvous, and Les Patineurs; Tudor’s Lysistrata; de Valois’ Cephalus and Procris, La Bar aux Folies-Bergère and The Wise and Foolish Virgins; for Vic-Wells (Giselle and Coppélia); and René Blum’s Ballet Russe de Monte Carlo (The Nutcracker).

The war interrupted his career with army service entertaining the troops, but he returned to ballet design in 1946 when the Sadler’s Wells Ballet moved to Covent Garden. He also extended his career to embrace writing and directing in the West End theatre. Chappell continued to work prolifically throughout his life, including designing Purcell’s The Faery Queen and Mozart’s The Marriage of Figaro (1974), teaching at the London Opera Centre, painting, writing, directing and designing, before his death in Rye on1 January 1994.

GRANT COYLE Repetiteur

Sir Anthony Dowell

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 4 August 1980 First Performed by The Sarasota Ballet 16 November 2018 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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THERE WHERE SHE LOVED MASTERS OF DANCE

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THERE WHERE SHE LOVED

Choreography by Music by

Created in 2000, the year Mr. Wheeldon retired from dancing at the age of 28 to concentrate on choreography, There Where She Loved was premiered at a Royal Ballet studio showing in London.

It was subsequently performed by San Francisco Ballet, Oregon Ballet Theatre, and his own company Morphoses.

Set to songs by Chopin (high priest of the Romantic movement, sung in Polish by a soprano) and Weill (twentieth-century poet of disillusion, sung in German and French by a mezzo soprano), the ballet is aptly described by Martha Ullman West in Dance Magazine as an “elaborate exploration of partnering, what men do to women and how [Wheeldon] imagines they feel about it.”

Indeed, the mood shifts almost antiphonally, from the simpler lyricism of Chopin to the bitter anguish of betrayal in Weill.

Wheeldon’s subtle structure and shifting tone appear in the artful repetition of specific phrases to starkly contrasting music and contexts, as his dancers meet and separate, expressing fleeting moments of joy, ebullient self-confidence, predatory sexual arrogance, and despairing loss. He also slips lightly from implied narrative through generic lovers to almost individualized characters and situations in, for example, Weill’s famous “Surabaya Johnny.”

Wheeldon vividly presents his vignettes of love and loss, and passion and betrayal, from the female point of view, not least by opting for live soprano and mezzo voices to express the feelings of the women we see dancing before us, their loves in turn celebrated and mourned, lost to man’s perfidy or fleeting time. “Where are the flowers of yesterday, or the snows of seasons past?”

Design by Staged by Lighting Design by

Christopher Wheeldon Frédéric Chopin Kurt Weill Holly Hynes Margaret Barbieri Aaron Muhl

CHRISTOPHER WHEELDON Choreographer Christopher Wheeldon trained at The Royal Ballet School, joining The Royal Ballet in 1991. In 1993 Wheeldon joined New York City Ballet and was promoted to soloist in 1998. His first professional commission was from Margaret Barbieri for Images of Dance and in 1997 he created his first work for NYCB, Slavonic Dances, becoming the company’s first Resident Choreographer in 2001. Works for NYCB include Polyphonia (2001, winner of a London Critics’ Circle Award and the Olivier Award for Best New Dance Production) and The Nightingale and the Rose (2007).

Other early works included his first fulllength work, A Midsummer Night’s Dream, for Colorado Ballet, Sea Pictures for San Francisco Ballet and The Four Seasons for Boston Ballet. In 2004 Wheeldon created his version of Tchaikovsky’s classic Swan Lake on Pennsylvania Ballet and revived it for the company again in 2015. In 1991 Wheeldon choreographed the Marvin Hamlisch Broadway musical Sweet Smell of Success.

In 2006 he launched his own company, Morphoses, which was based out of New York City Center and London’s Sadler’s Wells.

His ballets were greeted rapturously by audiences and critics.

Wheeldon ended his tenure as NYCB Resident Choreographer in 2008 to continue his freelance career.

For The Royal Ballet, Wheeldon created Souvenir (Tchaikovsky) and Pavane pour une infant défunte (Ravel) in 1996, and There Where She Loved (Chopin and Kurt Weill) in 2000. Wheeldon premiered at Covent Garden in 2011 a full-length ballet, Alice’s Adventures in Wonderland, becoming the first full-length ballet created at The Royal Ballet in over 20 years, followed by his second full-length ballet for the company, The Winter’s Tale.

In May 2013 Wheeldon staged his version of Prokofiev’s Cinderella for San Francisco Ballet, a co-production with the Dutch National Ballet in Amsterdam. Wheeldon premiered his highly-anticipated An American in Paris at the Theatre du Chatelet in Paris in December 2014 and, following its success, immediately moved to Broadway, where he won the Tony Award for Best Choreography in 2015.

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FRÉDÉRIC CHOPIN Composer Born on 1 March 1810, in Zelazowa Wola, Poland, Frédéric Chopin grew up in a middle-class family. His father’s employment as a tutor for aristocratic families in Warsaw exposed young Chopin to cultured Warsaw society, while his mother introduced him to music at an early age. By age 6, young Chopin was playing the piano and composing tunes. Recognizing his talent, his family arranged for lessons, and soon pupil surpassed teacher in both technique and imagination. He published his first composition at age 7 and began performing one year later. By 1818, Chopin was performing in elegant salons and writing his own compositions, including the Polonaise in G Minor. In 1826, his parents enrolled him in the Warsaw Conservatory of Music, where he studied for three years under the Polish composer Josef Elsner. In 1829 he went to Vienna, where audiences were enthralled with his highly technical yet poetically expressive performances. After a successful concert in Warsaw in 1830 he was on a tour of Western Europe when the Russians invaded Poland and he was never to return to his homeland In 1831 he settled in Paris, where he quickly established relationships with other young composers, among them Franz Liszt, Vincenzo Bellini, and Felix Mendelssohn. At the same time he was writing works that expanded the possibilities of the piano in his Nocturnes, Etudes, Scherzos, Ballades, and Preludes, while remembering his beloved Poland in the remarkable Mazurkas and Polonaises. He died of tuberculosis on 17 October 1849, in Paris.

KURT WEILL Composer Born in1900, the son of a cantor in Dessau, Germany, Kurt Weill took an early interest in music, studying composition in Berlin at eighteen with Ferruccio Busoni. Despite early influences of post-romanticism, expressionism, even atonality, a “freer, lighter, and simpler” music increasingly appealed to him. His early operas show the influence of jazz and popular music and his three-year collaboration with Bertolt Brecht, yielding The Threepenny Opera and Rise and Fall of the City of Mahagonny elaborated on his popular style. At the same time he was writing concert works as well as operas with texts

by Caspar Neher and Georg Kaiser.

On Hitler’s ascent in 1933, Weill left Germany, never to return. During two frustrating years in Paris he collaborated again with Brecht on The Seven Deadly Sins for Balanchine’s ballets of the same name. In 1935 he emigrated to the United States, where once again he worked with leading writers, including Maxwell Anderson on Knickerbocker Holiday and Lost in the Stars, Moss Hart and Ira Gershwin on Lady in the Dark, and Elmer Rice and Langston Hughes on Street Scene. He was working with Anderson on a musical version of Huckleberry Finn in when he died in 1950 of a heart attack. After his early death his wife, Lotte Lenya, worked tirelessly to raise the appreciation of his music, singing his songs, and establishing the Kurt Weill Foundation.

HOLLY HYNES Designer Holly Hynes is an award winning costume designer with over 250 ballets to her credit, including more than 70 at New York City Ballet where she served as Director of Costumes for 21 years. Recognized as a leading authority in the reproduction of important historical ballet works, she is also a leading authority in the accurate recreation of the original designs for Balanchine and Robbins ballet costumes. Alongside her work at NYCB, Hynes has designed for numerous ballet companies across the world, as well as theatrical designs for Broadway and Opera. Several of her costume renderings have been exhibited in museums across the country, including four renderings that remain as part of the permanent collection of the Theatre Wing of the Museum of the City of New York. In 2018 Hynes was awarded the Theater Development Fund/Irene Sharaff Lifetime Achievement Award at the Edison Ballroom in New York City.

First Performed by The Royal Ballet 27 June 2000 First Performed by The Sarasota Ballet 2 April 2010 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 CONCERT MASTERS OF DANCE

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THE CONCERT OR, THE PERILS OF EVERYBODY

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

“One of the pleasures of attending a concert,” wrote Jerome Robbins, “is the freedom to lose oneself in listening to the music.

Quite often, unconsciously, mental pictures and images form, and the patterns and paths of these reveries are influenced by the music itself, or its program notes, or by the personal dreams, problems, and fantasies of the listener. Chopin’s music in particular has been subject to fanciful program names such as the Butterfly Étude, the Minute Waltz, the Raindrop Prelude, etc.”

In a delightful series of sketches, Robbins’ perennial comedy pokes fun both at the solemnities of a piano recital (the star of the show being the pianist at his grand piano on stage) and at the ballet form itself. Subtitled The Perils of Everybody, and a charade in one act, the 29-minute ballet offers a series of characters and set pieces whose antics and self-revelations, from subtle nuance to outright slapstick, provoke laughter in the audience.

On stage, ernest music-lovers, who wear a “concert” face, which is put on to show they can appreciate serious music, start to enact their private thoughts and fantasies to Chopin’s familiar preludes, waltzes, polonaises and mazurkas. It’s Robbins’ wittily comic vision of the music, combined with his trademark observation of the behavior of ordinary men and women that creates the humor.

To the sacred Sylphides prelude, a man tries to stab his wife. A ditzily self-absorbed ballerina hugs the piano. A woman tries on various hats. A classroom display waltz for six girls goes hilariously awry. Concert-goers fidget and noisily unwrap candies. There are goofy music students, men dressed as hussars, and a bizarre fantasy of bugs, moths, and butterflies. One of the preludes starts a parade of umbrellas in the street, but in a typical Robbins twist, not to the famous Raindrop prelude (No. 15), but to the equally suitable No. 4.

Played right, with precision and timing, the jokes stand endless viewings, and Jerome Robbins’ comic masterpiece never fails to delight and amuse its audience.

Jerome Robbins Frédéric Chopin Saul Steinberg Irene Sharaff Ben Huys Jennifer Tipton

JEROME ROBBINS Choreographer Jerome Robbins (1918-1998) was first known for his skillful use of contemporary American themes in ballets and Broadway and Hollywood musicals. He won acclaim for highly innovative ballets structured within the traditional framework of classical dance movements.

He studied a wide array of dance traditions and in 1940 he joined Ballet Theatre (now American Ballet Theatre), where he soon began dancing such important roles as Petrushka. In 1944 Robbins choreographed his first, spectacularly successful ballet, Fancy Free and later that year, in collaboration with the lyricists Betty Comden and Adolph Green, expanded Fancy Free into a successful Broadway musical, On the Town.

For the next phase of his career Robbins divided his time between musicals and ballet. In 1948 Robbins joined the newly founded New York City Ballet (NYCB) as both dancer and choreographer, and the following year he became its associate artistic director under George Balanchine. Robbins created many important ballets for NYCB, some of the earliest being The Cage (1951), Afternoon of a Faun (1953), and The Concert (1956). These innovative works display his gift for capturing the essence of a particular era through his mastery of vernacular dance styles and his understanding of gesture.

His Broadway career is well represented by West Side Story (1957), a musical that transplants the tragic story of Romeo and Juliet to the gritty milieu of rival street gangs in New York City. Robbins conceived, directed, and choreographed this work, which featured a musical score by Bernstein, lyrics by Stephen Sondheim, and set designs by Robbins’ longtime collaborator Oliver Smith.

He also directed the 1961 film (with Robert Wise), which won 10 Oscars including Best Picture. In addition he directed and choreographed the popular musical Gypsy in 1959 and the even more successful Fiddler on the Roof in 1964.

In 1969 he returned to NYCB as a Resident Choreographer and a ballet master until 1983, when he and Peter Martins became ballet masters in chief (i. e., Co-Directors) of the company shortly before Balanchine’s death. Robbins resigned as Co-Director of NYCB in 1990, though he continued to choreograph for the company. His last work, Brandenburg, premiered there in 1997, a year before his death on 29 July 1998.

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FRÉDÉRIC CHOPIN Composer Born on 1 March 1810, in Zelazowa Wola, Poland, Frédéric Chopin grew up in a middle-class family. His father’s employment as a tutor for aristocratic families in Warsaw exposed young Chopin to cultured Warsaw society, while his mother introduced him to music at an early age. By age 6, young Chopin was playing the piano and composing tunes. Recognizing his talent, his family arranged for lessons, and soon pupil surpassed teacher in both technique and imagination. He published his first composition at age 7 and began performing one year later. By 1818, Chopin was performing in elegant salons and writing his own compositions, including the Polonaise in G Minor. In 1826, his parents enrolled him in the Warsaw Conservatory of Music, where he studied for three years under the Polish composer Josef Elsner. In 1829 he went to Vienna, where audiences were enthralled with his highly technical yet poetically expressive performances. After a successful concert in Warsaw in 1830 he was on a tour of Western Europe when the Russians invaded Poland and he was never to return to his homeland In 1831 he settled in Paris, where he quickly established relationships with other young composers, among them Franz Liszt, Vincenzo Bellini, and Felix Mendelssohn. At the same time he was writing works that expanded the possibilities of the piano in his Nocturnes, Etudes, Scherzos, Ballades, and Preludes, while remembering his beloved Poland in the remarkable Mazurkas and Polonaises. He died of tuberculosis on 17 October 1849, in Paris.

SAUL STEINBERG Set Designer Born in 1914 into a Jewish Romanian family, Steinberg studied at Bucharest University and then architecture at Milan University. He also contributed cartoons to the satirical newspaper Bertoldo. He fled Europe’s anti-Semitism for the Dominican Republic in 1941, where he began contributing to The New Yorker, and then the United States, where he joined the US Naval Reserve. His long illustrious career spanned numerous media – illustrations and cartoons for journals, over 80 critically acclaimed exhibitions in museums and galleries around the world, advertising art, textiles, murals, and stage sets.

IRENE SHARAFF Costume Designer Born in Boston, Massachusetts, Irene Sharaff (1910-1993) was one of the finest and most honored stage and film costume designers of the twentieth century, earning a Tony Award and five Academy Awards. As a fashion illustrator she designed her first stage costumes for Eva Le Gallienne’s 1932 Broadway production of Alice in Wonderland, going on to design for scores of Broadway shows, including Lady in the Dark, Candide, Flower Drum Song, and The Girl Who Came to Supper. She designed costumes for over seventy films as well as designing costumes for Ballet Theater, Ballet Russe de Monte Carlo, and New York City Ballet.

BEN HUYS Repetiteur Born in Ghent, Belgium, Huys studied at the Municipal Ballet School in Antwerp under the direction of Jos Brabants.

Winning the Prix de Lausanne in 1985 and a full scholarship to the School of American Ballet, he joined New York City Ballet a year later where he performed many principal roles in ballets by Balanchine, Robbins, and Martins. In 1996 Huys joined the Zurich Opera Ballet in 1996 as a Principal Dancer under the Direction of Heinz Spoerli and guested with Le grand Theatre de Geneve. He now works as a repetiteur for the George Balanchine Trust and the Jerome Robbins Rights Trust, staging ballets across the world including The Royal Ballet, The Mariinsky Ballet, and The Royal Danish Ballet.

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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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LES PATINEURS

Choreography by Music by Design by Music Arranged by Staged by

It was Constant Lambert, the troubled but inspirational Musical Director of the Vic-Wells Ballet and lover of the young Margot Fonteyn, who suggested that the ballet music from two of the French composer Meyerbeer’s operas, L’Étoile du Nord and the 1849 La Prophète, might furnish the ideal score for a skating ballet in development in 1937. These operas had famously featured a corps de ballet on roller skates, well over a century before Lloyd Webber’s Starlight Express!

Ninette de Valois, the young company’s founding director, found herself unable to make headway with the Meyerbeer project, and handed it over to her rising young choreographer, Frederick Ashton, who reciprocated by delivering to her The Rake’s Progress which was proving equally challenging for him. This proved a happy exchange, resulting in a significant landmark work for each dance-maker.

Ashton knew precisely nothing of skating and had never visited an ice-rink in his life, but the delightful ice-skating divertissement he concocted premiered at Sadler’s Wells to great public acclaim, spectacularly demonstrating just how far the nascent British ballet had come in six short years from its inception by de Valois.

The ballet’s premiere benefited from an illustrious cast, with Margot Fonteyn (Ashton’s muse in the late 1930’s) and Robert Helpmann as the pas de deux couple and Harold Turner as the Blue Skater (a role not unrelated, perhaps, to the Blue Bird of the classical The Sleeping Beauty). It was in this popular success that the dancer Michael Somes first made his mark, attracting notice with his spectacularly impressive elevation, as the leading dancer and Ashton inspiration he was to become.

Lighting Design by

Sir Frederick Ashton Giacomo Meyerbeer William Chappell Constant Lambert Margaret Barbieri Iain Webb 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 repertoire 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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GIACOMO MEYERBEER Composer Like his younger contemporary Mendelssohn, Meyerbeer was German-Jewish, born Jacob Liebmann Beer (1791) near Berlin. Both his parents came from wealthy backgrounds and two of his brothers became well-known astronomers and poets. Like Mozart, his precocious talent led to an early musical debut. He performed at the age of 9 and studied with the Abbé Vogler, who also taught Carl Maria von Weber.

Moving from virtuosic performance to composition and for family reasons taking the name Meyerbeer, he went to Italy, where he came under Rossini’s influence and renamed himself Giacomo. Of his 17 operas (1812-1865), the best-known are probably Les Huguenots (1836) and L’Africaine (1865), while his first major success Il Crociatto in Egitto in Venice, Paris, and London (1824-5) was the last opera to feature a castrato.

Meyerbeer’s first big hit, Robert le Diable (Paris 1831), is often (and inaccurately) considered the first “grand opera,” but his melodramatic, historical plots, sumptuous scores, huge casts, and staging demands ensured the success of his operas, until the sustained personal attacks of Wagner (whose 1842 opera Rienzi was maliciously dubbed “Meyerbeer’s greatest work”!) and growing anti-Semitism in Germany reduced his popularity there, and changes in taste led to few performances elsewhere. Only recently have his operas been restaged, with varying success.

WILLIAM CHAPPELL Costume Designer A gifted and versatile artist who succeeded as both dancer and theatre designer, William (“Billy”) Chappell was born 27 September 1908 in the English midlands city of Wolverhampton and grew up in London. He studied painting at Chelsea Art School where he met lifelong friend Edward Burra, but through his friendship with Sir Frederick Ashton, Chappell soon committed himself to dance. He studyed with Marie Rambert before dancing with Ida Rubinstein’s company (1928), Ballet Rambert (1929-1934), and the Vic-Wells Ballet (1934-1940).

During the 1930s, Chappell created roles in de Valois’ Job, The Haunted Ballroom, Checkmate and The Rake’s Progress as well as creating designs for Ashton’s ballets Capriol Suite, Les Rendezvous, and Les Patineurs; Tudor’s Lysistrata; de Valois’ Cephalus and Procris, La Bar aux Folies-Bergère and The Wise and Foolish Virgins; for Vic-Wells (Giselle and Coppélia); and René Blum’s Ballet Russe de Monte Carlo (The Nutcracker).

CONSTANT LAMBERT Music Arrangement Composer, conductor, and writer, Constant Lambert had exactly the right qualifications when he joined with Dame Ninette de Valois and Sir Frederick Ashton to build what became The Royal Ballet. Born in London in 1905, the son of a leading Australian painter, George Lambert, he was only 21 and still a student at the Royal Academy of Music when Diaghilev accepted his score for Romeo and Juliet in 1926. A year later the success of The Rio Grande (with text by Sacheverell Sitwell and choreographed by Ashton in 1932) made him a leading composer of his generation.

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ENIGMA VARIATIONS V I C TO R I A N W I N T E R S

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ENIGMA VARIATIONS

Choreography by Music by Design by Staged by Rehearsed by Lighting Design by

This ballet functions subtly and sensitively at different levels.

Elgar’s famous variations musically depict, in his own words, “my friends pictured within” and on the surface Ashton has followed this “text,” introducing each of these people with appropriate emotions and characteristics, as described by the composer. Elgar remarked that had Enigma been a Russian composition, someone would have made a ballet of it, and 20 years after his 1934 death, Julia Trevelyan Oman submitted student designs for an Enigma ballet.

Ashton used Elgar’s original 1898 score and 1929 commentary to present an imaginary gathering of Elgar and his friends at his Worcestershire home. The struggling composer has completed Enigma when a telegram arrives from the celebrated conductor Hans Richter agreeing to conduct the work, which will make Elgar’s name. This news brings the party happily together in a posed photograph, recording the moment forever in memory.

The last scene uses the musical ending first written by Elgar before he extended the finale at the suggestion of his publisher, Jaeger.

The music is realized in contrasting characterizations, finely drawn with humor and sensitivity. The ballet’s “interior” underlying content addresses the enduring theme of the creative artist’s life, inner doubts, and insecurities, sustained by the company and affection of friends and loved ones. As to the critics, Alexander Bland praised “Ashton’s delicate water-colour talent” while John Percival noted the rarity of ballets about friendship, welcoming Ashton’s “rare and moving expression for it” in placing “credible, adult characters like these on the stage.” Joan Acocella judged that “no other ballet choreographer has examined normal emotions with such sophistication.”

Sir Frederick Ashton Sir Edward Elgar Julia Trevelyan Oman Patricia Tierney Margaret Barbieri Mark Jonathan

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 repertoire 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 EDWARD ELGAR Composer Son of a piano tuner who also had a music shop, Sir Edward Elgar was born near Worcester, England, in 1857. Generally seen as an archetypally English composer, his musical influences were European. Elgar learned music locally, then sang in choirs, playing and teaching violin, organ, and piano. In 1889 he married Alice Roberts, a woman of higher social class, who wrote: “the care of a genius is enough of a life work for any woman.” Salut d’Amour was his engagement present to her. Their only child, Carice Irene, was born in 1890.

While his Serenade for Strings (1892) and Three Bavarian Dances (1897) were well received, success only came in middle age, with Enigma Variations (1899) and The Dream of Gerontius (1900). A largely self-taught musician from a lower class Roman Catholic background, however, he always felt an outsider.

Sir Arthur Sullivan’s 1900 death left Elgar as Britain’s leading composer. Further oratorios (The Apostles, The Kingdom) were well received but are rarely performed today, whereas Pomp And Circumstance Marches (1901-1930), Sea Pictures, Violin Concerto, his Cello Concerto and two symphonies have remained popular, and in 1998 a completion of his Third Symphony by Anthony Payne was acclaimed by critics.

Elgar was one of the first composers to welcome recorded music, conducting acoustic and then electrical recordings of his works from 1914-1933. Knighted in 1904 and appointed Master of the King’s Musick in 1924, Elgar died in 1934.

JULIA TREVELYAN OMAN Designer Born in Kensington, London on 11 July 1930, Julia Trevelyan Oman descended from artistic backgrounds on both sides of her family—her father, Charles Oman, was Keeper of Metalwork at the Victoria and Albert Museum and her mother was the historian Joan Trevelyan. She was educated at Wimbledon College of Art and then at London’s Royal College of Art before becoming a leading British designer in television, theatre, ballet, and opera.

She worked extensively on TV, designing for popular shows and went on to design sets for Chichester Festival, The Royal Opera House, Hamburg State Opera, Glyndebourne Opera, The National Theatre, and Royal Shakespeare Company, winning 1966 Designer of the Year Award for Jonathan Miller’s TV production of Alice In Wonderland and 1968 Plays & Players “Best Set” Award for Patrick Garland’s Brief Lives.

In 1971 she married the art historian Roy Strong, becoming Lady Strong on his knighthood, and in 1986 CBE in her own right. They wrote books together and created a showcase formal garden at their Hertfordshire home, The Laskett, in Much Birch where she died of cancer in 2003.

PATRICIA TIERNEY Repetiteur Born in Leicester, England, Tierney trained at Bush Davies School, Rambert Academy and studied Benesh Movement Notation (BMN) at the Benesh Institute London. Tierney joined the Hamburg Ballet as Choreologist under the direction of John Neumeier in 1987, returning to England in 1992 to work as Choreologist at English National Ballet before joining Birmingham Royal Ballet in 1993 as Dance Notator. Her current position is now Benesh Choreologist and Video Archivist.

Using BMN, she has recorded, assisted, and taught in rehearsals of many new ballets and revivals of works across the BRB repertoire, plus in recent years staging the choreography of Sir Frederick Ashton: Enigma Variations for The Sarasota Ballet and The Dream for National Ballet of Romania and SemperOper Ballet in Dresden; David Bintley: Carmina Burana for National Ballet of Japan and Atlanta Ballet; e=mc2 for The National Ballet of Japan, Faster for The National Ballet of Japan and The Australian Ballet, ‘Still Life’ at the Penguin Café for The Sarasosta Ballet and The Shakespeare Suite for Ballet West; Stanton Welch: Powder for Houston Ballet.

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DIAMONDS

Choreography by Music by Costume Design by Staged by Rehearsed by Lighting Design by

Diamonds brings Jewels to a triumphant close. “If the entire Imperial Russian inheritance of ballet were lost,” Mary Clarke and Clement Crisp have written, “Diamonds would still tell us of its essence.”

With suitably diamantine costumes by Karinska, Diamonds is a glittering tribute to the late 19th century St. Petersburg ballet style in which Balanchine was trained, and on opening night its large cast was headed by Suzanne Farrell, Balanchine’s muse at the time, and Jacques d’Amboise.

Balanchine set his ballet of high style and grandeur to most of Tchaikovsky’s Symphony No. 3 in D major, the only symphony by that composer in a major key, and the only one of his symphonies in five movements. But Balanchine omits the first movement, a highly emotional and dramatic composition that includes a funeral march. He begins his ballet with Tchaikovsky’s second movement, a rather hesitant waltz to which he devises lyrical choreography reminiscent of the dances of the swan maidens in Swan Lake, the ballet Tchaikovsky composed immediately upon finishing the symphony. This is followed by a spacious adagio for the ballerina and her cavalier, a reminder that the 19th Century was an age of great pas de deux.

A lively scherzo gives way to the finale, a stately polonaise (polacca). The polonaise was in origin a Polish dance, one reason why this symphony was nicknamed the “Polish,” although not

by Tchaikovsky himself. Balanchine’s polonaise -- a grand processional that honors fine manners and the glory of ballet -- is a crown jewel of Jewels.

George Balanchine Pyotr Ilyich Tchaikovsky Karinska Sandra Jennings Margaret Barbieri 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 René Blum’s Ballet Russe 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, 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, and 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 also 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.

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.

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

DIAMONDS

REFINED ELEGANCE

5 DECEMBER 2018 - 6:00 PM Join The Sarasota Ballet for a unique behind-the-scenes look at George Balanchine’s elegant and mesmerizing Diamonds. The grand finale in Balanchine’s full length abstract ballet Jewels, Diamonds is a glittering tribute to the grandeur and regality of Imperial Russia. Inside the Studio brings you into the intimate rehearsal process behind this ballet.

WORLD PREMIERE

THE CREATIVE PROCESS

16 JANUARY 2019 - 6:00 PM Resident Choreographer and Principal Dancer Ricardo Graziano returns to the studio with his first new full work in two years. Join The Sarasota Ballet as we unveil the first glance at his 2019 World Premiere and witness the creative choreographic process up close.

APPARITIONS

RESTORING ART HISTORY

27 FEBRUARY 2019 - 6:00 PM Not performed since Ashton’s passing, the much anticipated revival of Apparitions has garnered great interest from the dance world. Venture backstage for this rare opportunity to see the restoration of a ballet up close and discover more about how a ballet is brought back to life over 30 years after its last performance.

GISELLE

A BELOVED CLASSIC

10 APRIL 2019 - 6:00 PM Considered one of the greatest productions of Giselle, Sir Peter Wright’s ballet has been performed by companies across the globe. Join Margaret Barbieri, Assistant Director of The Sarasota Ballet and former Principal of The Sadler’s Wells Royal Ballet, as she coaches our dancers in the ballet that cemented her international reputation as a Romantic Ballerina.

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FSU CENTER FOR THE PERFORMING ARTS

FOUR SCOTTISH DANCES TRANSCENDING MOVEMENT

FOUR SCOTTISH DANCES The British choreographer David Bintley (artistic director of Birmingham Royal Ballet) originally created Four Scottish Dances as a 1979 ballet in a “picture postcard” style for an Israel premiere by principal dancers of The Royal Ballet. He later included the lighthearted ballet as part of a longer and more serious ballet Flowers of the Forest (1985), adding Britten’s Scottish Ballad in tribute to the tragic massacre of Scots nobility at the 1513 Battle of Flodden Field. Bintley’s Four Scottish Dances, however, concentrates on the folkloric ebullience of Malcolm Arnold’s orchestral suite, originally composed for a 1957 BBC Festival of Light Music.

Arnold’s Scottish Dances are only one of several popular suites drawing on the folk idioms of the British Isles. Between 1950 and 1988 he also composed English, Cornish, Welsh, and Irish dance suites. The four Scottish movements begin with a pesante, to cheerfully clumping “peasant” clarinet (distant echoes of Beethoven’s Pastoral Symphony here), followed by a languid bassoon for the second vivace, then by the shimmeringly Romantic pastoral harp and flute of the third movement allegretto, and on to a scintillating Scots reel for the closing con brio.

The whole ballet is pure Walter Scott—a joyful, romantic, and vivacious celebration of Scottishness, with kilts and sporrans all the way—by two remarkable talents, choreographer David Bintley and composer Malcolm Arnold. Perhaps we should think of Four Scottish Dances as English ballet’s answer to Brigadoon! Certainly both works share an intentionally picture postcard, joie de vivre approach to Caledonia.

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David Bintley Sir Malcolm Arnold Jan Blake Margaret Barbieri Iain Webb Aaron Muhl

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 as 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 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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SIR MALCOLM ARNOLD Composer The youngest of five children of a prosperous shoemaking family in the English Midlands city of Northampton, Malcolm Arnold (1921-2006) developed an enthusiasm for jazz after seeing Duke Ellington perform. Taking up the trumpet, at the age of seventeen he won a scholarship to study at the Royal College of Music, after which he joined the London Philharmonic Orchestra.

The success of the 1943 overture Beckus the Dandipratt was followed by nine symphonies between 1949 and 1986; twenty concertos for almost every conceivable instrument from piano, viola, oboe, and cello, to horn, guitar, organ, and harmonica; six suites of country dances; six ballet scores for such choreographers as Ashton, MacMillan, Cranko, and Helpmann; eleven concert overtures; and songs, and works for piano and brass band. Arnold remained interested in popular as well as “serious” music, creating works for Julian Bream, Benny Goodman, and Larry Adler.

A notable aspect of Arnold’s prodigious and successful output was the work he did composing music for at least sixty-two feature films between 1952 and 1969, including Hobson’s Choice (1954), Bridge on the River Kwai (1957), The Inn of the Sixth Happiness (1958), Whistle Down the Wind (1961), The Heroes of Telemark (1965), and the original St. Trinian’s films. Among his many awards, prizes and honorary doctorates, including an Oscar for Bridge on the River Kwai and a Fellowship of the Royal College of Music, Arnold was made Commander of the British Empire in 1970 and knighted by the Queen in 1993 for services to music.

First Performed in Israel 1979 First Performed by The Sarasota Ballet 25 January 2008 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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MEDITATION FROM THAÏS TRANSCENDING MOVEMENT

MEDITATION FROM THAÏS

Choreography by

Meditation from Thaïs, a rich and poetic pas de deux set to the Méditation from the opera Thaïs. A complete work, Ashton choreographed this work on Dame Antoinette Sibley and Sir Anthony Dowell specifically for a gala performance on 21 March 1971 in aid of Friends of Fatherless Families, held at the Adelphi Theatre in London.

Music by Costume Design by Originally Staged by Staged by

JULES MASSENET Composer Jules Émile Frédéric Massenet (12 May 1842 – 13 August 1912) was a French composer of the Romantic era best known for his operas, of which he wrote more than thirty. The two most frequently staged are Manon (1884) and Werther (1892).

He also composed oratorios, ballets, orchestral works, incidental music, piano pieces, songs, and other music.

While still a schoolboy, Massenet was admitted to France’s principal music college, the Paris Conservatoire. After winning the country’s top musical prize, the Prix de Rome, in 1863, he composed prolifically in many genres, but quickly became best known for his operas.

Between 1867 and his death forty-five years later he wrote more than forty stage works in a wide variety of styles, producing a series of successes that made him the leading composer of opera in France in the late 19th and early 20th centuries.

Sir Frederick Ashton Jules Massenet Sir Anthony Dowell Grant Coyle Margaret Barbieri

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). 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. During the next two decades, Ashton’s ballets, often created around the talents of particular dancers.

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. 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 repertoire 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.

SIR ANTHONY DOWELL Costume Designer Born in London, Anthony Dowell attended The Royal Ballet School from the age of ten and in 1961 joined The Royal Ballet. 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 Meditation from Thaïs, 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).

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. In 1986 Dowell became the The Royal Ballet’s fifth Director.

Dowell was made a CBE in 1973 and was awarded a knighthood in 1995. Since stepping down as Director in 2001 he has staged several productions, including The Dream for American Ballet Theatre and The Sarasota Ballet.

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WORLD PREMIERE Ricardo Graziano’s 2019 January World Premiere marks his return to the studio for his first new one-act ballet in two years. His previous two works, Sonata in Four Movements (2016) and In a State of Weightlessness (2015) were both ballets Graziano choreographed for National tours—2015’s performances at the Jacob’s Pillow Dance Festival in Massachusetts, and 2016’s performances at the 1932 Criterion Theatre in Maine. Graziano’s upcoming World Premiere will also be the first time in several years that he has premiered a new work first in Sarasota.

However, Graziano has not be entirely absent from the choreographer’s chair during this time, having created two divertissements for The Sarasota Ballet’s 2018 Gala—The Jolly Overture, featuring 16 dancers of The Sarasota Ballet; and Somewhere, danced by Amy Wood and Weslley Carvalho, and sung by Opera Star Susan Graham.

Choreography by Lighting Design by

Ricardo Graziano 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, 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, Who Cares?; Bintley’s ‘Still Life’ at the Penguin Café; de Mille’s Rodeo; de Valois’ The Rake’s Progress; Fokine’s Les Sylphides; Gomes’ Dear Life...; Nijinsky’s L’Après-midi d’un Faune; Nureyev’s Raymonda Act III; Tharp’s In the Upper Room, Nine Sinatra Songs; Taylor’s Airs; Tuckett’s Changing Light, Lux Aeterna; Tudor’s Lilac Garden; Wheeldon’s The American, There Where She Loved.

In 2011 Ricardo Graziano was given the opportunity by Iain Webb to choreograph his first ballet, Shostakovich Suite, which premiered in October 2011. Following this ballet, Graziano choreographed four new ballets before being appointed Resident Choreographer

by Iain Webb in 2014 after a performance of Symphony of Sorrows.

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 for The Sarasota Ballet’s March 2013 Gala, Valsinhas in May 2013, Before Night Falls in February 2014, En las Calles de Murcia in March 2015, Sonata in Four Movements in August 2016 at the 1932 Criterion Theatre in Bar Harbor Maine, and The Jolly Overture and Somewhere for The Sarasota Ballet’s April 2018 Gala.

In total, Graziano has choreographed seven, one-act ballets and three divertissements.

Commisioned by The Sarasota Ballet First Performed by The Sarasota Ballet 25 January 2019 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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VARII CAPRICCI TRANSCENDING MOVEMENT

VARII CAPRICCI

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

For the 1983 Britain Salutes New York Festival, the Met insisted that the planned Royal Ballet season must feature a new Ashton work, so the choreographer hastily completed in three weeks a ballet he had been working on to cheer up Walton, his old friend from the 1920s… “but then he went and died on me.”

The setting, with David Hockney’s vibrant set of primitivist trees and sunlit swimmingpool, intentionally suggested the tropical garden of Walton’s home on the Italian island of Ischia, Although the ballet is a stylish caprice in the manner of Les Biches or Le Train Bleu, with their languorous, sexually ambivalent “love in idleness,” Ossie Clark’s costumes evoke the era of Travolta more than Nijinsky, despite Ashton’s cheeky quote from L’Apres-midi d’un Faune.

A strutting, sashaying gigolo in satin suit, shades, and quiff (Lo Straniero, the stranger) makes love to La Capricciosa, the elegant hostess of a poolside party at her villa, while her guests (“Varii Amici,” various friends) enjoy themselves. But who’s after whom?

Are the peacock boys more interested in the lovely girls, each other, their hostess or the sexy interloper?

Framed by the music’s celebratory opening allegro, hectically buzzing final presto, and the two short lento movements, the ballet’s heart is the alla Cubana pas de deux, all languorous sensuality and swooning violin. In the end, Lo Straniero retrieves his shades and departs, leaving La Capricciosa relaxed and laughing: in Ashton’s words “it was just one of those flings.”

Varii Capricci amusingly subverts Stateside expectations of the refined, reticent English classicism Ashton and The Royal Ballet represented. The New York audience certainly enjoyed the sight of the princely Anthony Dowell as a poolside gigolo to Antoinette Sibley’s Capricciosa, both a long way from their famous partnering as Ashton’s Oberon and Titania.

Sir Frederick Ashton Sir William Walton David Hockney Ossie Clark Grant Coyle 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 repertoire 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.

Sir Anthony Dowell & Dame Antoinette Sibley

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SIR WILLIAM WALTON Composer The English composer Sir William Walton (1902 – 1983), knighted in 1951 and awarded the Order of Merit in 1967, made his mark in the late 1920s as a modernist with early successes like Façade. But it is on his more substantial orchestral, symphonic, and choral works, from the 1931 oratorio Belshazzar’s Feast onwards, that his reputation rests. Influenced by Stravinsky, Sibelius, and jazz, Walton’s work embraced film scores, chamber and ceremonial music, choral, and orchestral works.

Born into a musical family in Oldham Lancashire and largely self-taught, Walton studied the works of Stravinsky, Delius, and Sibelius, and soon began composing. Leaving Oxford after failing his exams in 1920, he lived with the Sitwell brothers and sister in London, which soon led to the creation of Façade in 1926, with poems by Edith Sitwell and Walton’s score, from which he arranged the two delightful suites for orchestra. In 1931 Ashton borrowed some of this music for his ever-popular ballet.

Wider success followed with the Viola Concerto (1929), Belshazzar’s Feast (1931), the First Symphony (1935), and the Violin Concerto (1939).

He also began writing film scores, most notably for Olivier’s Henry V, Hamlet and Richard III. After the War, Walton dedicated many years to his opera Troilus & Cressida (1954), which was not a major success, and so subsequently turned his attention to orchestral works. In 1949, with his Argentine wife Susana, he settled on the Italian island of Ischia, where he died in 1983, shortly after finished the orchestration for Ashton’s upcoming ballet Varii Capricci.

DAVID HOCKNEY Set Designer One of the greatest living visual artists, David Hockney OM, CH, RA, the English painter, printmaker, stage designer, and photographer was born in Bradford in 1937 and trained at Bradford College and London’s Royal Academy of Art. His early work contributed to British Pop Art before he moved to Los Angeles in 1964, where his vibrant acrylic paintings of swimming pools made a strong impact.

David Hockney divides his time between homes in Los Angeles, London, and Paris. In 1974 he began a long personal relationship with Gregory Evans, who remains his business partner. His career flourished, with enormous sums paid for his work in several different media, from still-life to landscape, digital drawing programs, printmaking, and photography, but always returning to portraiture – of himself, his friends, lovers, and dogs. Much of his work has reflected his sexual orientation.

He has created stage designs for theatre, opera, and ballet for numerous companies across the globe, including the Metropolitan Opera, Royal Opera House, and Royal Court Theatre in London. With over 400 solo exhibitions around the world, his works in every major international gallery, and auction prices for his work reaching as much as $28.5 million, he is determined to donate much of his collection, archive and fortune to the David Hockney Foundation.

OSSIE CLARK Costume Designer The British fashion designer Raymond “Ossie” Clark was a golden boy of London’s Swinging Sixties. Born 1942 in Warrington, Lancashire during an air raid, he showed precocious talent at an early age. At 16, Ossie attended Manchester’s Regional College of Art, where he met his future wife Celia Birtwell and lifelong friend David Hockney.

Moving to London to study at The Royal College of Art, his 1965 degree show was a triumph, with major press coverage and commissions following. Soon after Ossie became the darling of the London, Paris, and New York jet-set, mixing with The Beatles, Mick Jagger, Marianne Faithful, and Liza Minnelli. In 1969 he married Celia Birtwell and they had two sons; however by the late 1970s, his marriage began to fall apart. After converting to Buddhism, he made a 1990s comeback, but in 1996, at the age of 54, Ossie was stabbed to death in his London flat by a former male lover and fellow designer.

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 19 April 1983 First Performed by The Sarasota Ballet 25 January 2019 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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Xin Ying and Lloyd Knight in Pontus Lidberg’s Woodland Hibbard Nash Photography.

MARTHA GRAHAM DANCE COMPANY FSU CENTER FOR THE PERFORMING ARTS

MARTHA GRAHAM DANCE COMPANY The Martha Graham Center of Contemporary Dance keeps vital and builds upon the unique work of Martha Graham, the principal originator of American modern dance. The Martha Graham Dance Company, founded by Martha Graham in 1926, is the first and most celebrated modern dance company in the world, and features an international roster of the most talented modern dancers in the world today. Students come from around the globe to study at the Martha Graham School of Contemporary Dance, the only school primarily focused upon teaching the Martha Graham technique and repertoire. The course structure culminates in the pre-professional training of young dancers, who perform at public schools, colleges, and other venues as the Martha Graham Dance Ensemble. The Martha Graham Resources shares the works of Martha Graham with other arts organizations and performers and preserves and makes available to the public the assets of one of the world’s most extensive collections of dance history: sets, costumes, audio and video recordings, photographs, and correspondence.

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Diversion of Angels Choreography by Martha Graham Ekstasis Choreography by Martha Graham Lamentation Variations Choreography by Bulareyaung Pagarlava, Nicolas Paul, Larry Keigwin Errand into the Maze Choreography by Martha Graham Woodland Choreography by Pontus Lidberg

MARTHA GRAHAM Choreographer Martha Graham (1894-1991) is recognized as a primal artistic force of the 20th Century. She was named “Dancer of the Century” by Time and has been compared with other creative giants such as Picasso, Einstein, Stravinsky, and Freud. She created 181 ballets and a technique that revolutionized dance throughout the greater part of the past century. Using the founding principles of contraction and release, she built a vocabulary of movement to “increase the emotional activity of the dancer’s body,” exploring the depth and diversity of human emotion. Her ballets were inspired by a wide range of sources from the American frontier to Greek mythology. She created and portrayed prominent women, including Clytemnestra, Jocasta, Medea, Phaedra, Joan of Arc, and Emily Dickenson. During her 70 years of creating dance, she collaborated with other great artists – Noguchi, Copland, Barber, and Schuman, as well as her mentor Louis Horst among others. She is recognized for her groundbreaking work in all aspects of the theater – use of time, space, lighting, costumes, sets, and music. Her company was a training ground for many generations of choreographers including Cunningham, Taylor, and Tharp. At the Neighborhood Playhouse, she is said to have changed the course of American acting through students such as Bette Davis, Gregory Peck, Tony Randall, and Orson Wells.

Her creative genius earned numerous honors and awards, including the Medal of Freedom and the National Medal of the Arts.

Martha Graham’s extraordinary legacy lives on in the work of the Martha Graham Dance Company, Ensemble and School, and in the students worldwide studying her technique and performing her masterworks.

Hibbard Nash Photography

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The Sarasota Ballet

Sunday 6 January 2019 Susan Graham • Marcelo Gomes • Guest Artists • The Sarasota Ballet Kate Honea | Photographer Matthew Holler Dress courtesy of Neiman Marcus Tampa Bay

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APPARITIONS

Choreography by Music by Music Arranged by Design by Staged by Lighting Design by

Invited by John Maynard Keynes to create a new ballet for the Camargo Society, Ashton and Constant Lambert responded to something of a vogue in London for ghostly, Gothic ballroom ballets. The scenario was adapted from Berlioz’s Symphonie Fantastique, although they dropped Berlioz’s symphony in favor of piano selections from Liszt, whose Romantic music they had been exploring together for some time.

Changing the opium-fuelled protagonist from Berlioz’s composer to a poet self-destructively obsessed with an elusively aloof ballroom beauty, the ballet was conceived as a vehicle for Robert Helpmann, but made a star of the 16-year-old Margot Fonteyn, with whom Lambert fell in love and in whom Ashton found his muse, despite the difficulty she admitted facing, playing a poised sophisticate at so tender an age.

It was a chaotic collaboration by all accounts. Fonteyn was daunted by the role. Ashton’s regular designer Sophie Fedorovitch was felt to be too restrained for the “juicy” designs Lambert wanted, while Pavel Tchelitchew was too expensive so Cecil Beaton was chosen. He insisted that his lush costume designs be executed by Karinska, whose notoriously last-minute delivery of the costumes caused dress rehearsal havoc, but it proved well worth the effort.

The ballet opens and closes in the poet’s study, before he enters a ballroom, moving through the elegantly-disposed dancers in an opiate-inspired trance, futilely pursuing the unattainable l’Amour Supreme. The ensuing scenes become a macabre nightmare, before the poet kills himself in despair, and is borne away in a cortege led by the girl of his morbid dreams.

Despite the fears and doubts of Ashton and Fonteyn, Apparitions was a notable success, revived at Covent Garden in 1949, and again in 1987 by London Festival Ballet, with Peter Schaufuss and Natalia Makarova.

Sir Frederick Ashton Franz Liszt Constant Lambert Cecil Beaton Grant Coyle 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 repertoire 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 Franz Liszt was the precociously talented son of a musically inclined overseer in the service of 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, SaintSäens, 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, after his father’s death, Liszt lived with his mother in Paris, teaching and belatedly educating himself by reading and meeting leading authors and artists. Inspired by hearing Paganini play, Liszt launched himself as a 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, unable to marry Princess Carolyne, Liszt took minor orders of the priesthood and, known as the Abbé Liszt, divided his time between Rome, Weimar, and Budapest.

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.

CONSTANT LAMBERT Music Arragement Composer, conductor and writer, Constant Lambert had exactly the right qualifications when he joined with Dame Ninette de Valois and Sir Frederick Ashton to build what became The Royal Ballet. Born in London in 1905, the son of a leading Australian painter, George Lambert, he was only 21 and still a student at the Royal Academy of Music when Diaghilev accepted his score for Romeo and Juliet in 1926. A year later the success of The Rio Grande (with text by Sacheverell Sitwell and choreographed by Ashton in 1932) made him a leading composer of his generation.

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 Sadler’s Wells Ballet 1 February 1936 First Performed by The Sarasota Ballet 8 March 2019 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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STARS AND STRIPES POETRY AND LIBERT Y

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STARS AND STRIPES

Choreography by Music by Music Arranged by Design by Staged by Lighting Design by

This must be the most stirringly, upliftingly patriotic of Balanchine’s many tributes to his adoptive country. Arriving in the USA, with no English except “ham and eggs” until taught the language by Broadway lyricist Lorenz Hart, the choreographer became, as Jennifer Dunning wrote, “the most fervent of flag-wavers… with an unshakeable love for New York and the United States.” (The New York Times) Or, as Peter Martins put it: “He was Mr. New York…a true American in every way.”

Indelibly associated with the Fourth of July, whose parades it consciously evokes, Stars and Stripes is “a ballet in five campaigns” setting its large cast of dancers and five principals in Karinska’s brightly-colored uniforms, to Sousa’s ebullient band tunes in a blaze of twirling batons, military marches and exuberant, bravura dancing.

The ballet has been performed at important events, presidential and mayoral inaugurations, and is dedicated to the memory of New York Mayor Fiorello La Guardia. In 1981, learning of the imminent release of American hostages in Iran, Balanchine celebrated by adding a slap-bang finale to the “5th Campaign.”

This is not to overlook the artistry and fine dancing in a challenging showcase for a large cast of dancers—41 in the original cast, starrily led by Jacques d’Amboise, Melissa Hayden, Allegra Kent, and Diana Adams. The “4th Campaign” in particular, to the Liberty Bell and El Capitan marches, offers a virtuosic pas de deux, with variations and coda.

We should remember, too, Balanchine’s innate musicality. Asked why he would choreograph a ballet to Sousa’s marches, he simply replied, “because I like his music.” This is apparent in his entrusting carefully selected tunes to the fine arranger Hershy Kay, with whom he collaborated on Western Symphony and his Gershwin ballet Who Cares?. But, in the end, Stars and Stripes is a bold, brassy, banner-waving celebration of America.

George Balanchine John Philip Sousa Hershy Kay Karinska 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 René Blum’s Ballet Russe 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, 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, and 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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JOHN PHILIP SOUSA Composer Ironically, the “American March King” was of mixed Portuguese and Bavarian descent. He was born 1854 in Washington, DC, learned violin, studied music theory and composition, and enlisted in 1868 at age 12 as an apprentice in the U.S. Marine Band (with which his father was a trombonist), leaving in 1875 to study conducting. At the 1876 centennial exposition in Philadelphia, he joined Offenbach’s orchestra, returning to lead the U.S. Marine Band from 1880-1892, making it the leading U.S. military band, with over 60 phonograph cylinder recordings and a national reputation.

From 1892-1931, he led and recorded with his own Sousa Band, touring over 15,000 concerts internationally. By this time, Sousa was an established composer of marches (Liberty Bell, Thunderer, Washington Post, Semper Fidelis, and The Stars and Stripes Forever among the best known). He had also developed the sousaphone, a portable tuba, to provide a marching bass. In World War I, Sousa enlisted again, but in the 1920s, promoted to lieutenant commander of the naval reserve, he saw no more active service.

Sousa also wrote in other forms, including 11 operettas, most notably El Capitan. “The March King” died of heart failure in Pennsylvania, aged 77 on 6 March 1932, after conducting a rehearsal of The Stars and Stripes Forever.

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.

HERSHY KAY Music Arragement The Philadelphia-born pianist and composer Hershy Kay established his reputation as a leading Broadway orchestrator, working closely with Leonard Bernstein on On The Town (1944) and later Candide (1956). Marvin Hamlisch’s A Chorus Line, Cy Coleman’s Barnum, and Andrew Lloyd Webber’s Evita were among the many musicals he orchestrated. In a longstanding collaboration with Balanchine’s New York City Ballet, Kay arranged the scores for many ballets, including Western Symphony, Tarantella, Stars and Stripes, Union Jack, and Who Cares?.

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.

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GISELLE S A R A S OTA O P E R A H O U S E

GISELLE The crowning achievement of the Romantic ballet and an enduringly central part of the repertoire, Giselle perfectly exemplifies how ballet is a living tradition—taught, preserved, adapted, and handed down from generation to generation. Sir Peter Wright’s internationally acclaimed staging is perhaps the definitive and most authentic production available.

Giselle, originally staged with great success in 1841 as a vehicle for the star Carlotta Grisi, was choreographed by Jules Perrot and Jean Coralli and went on to triumph in London, St. Petersburg and Vienna (1842), Berlin and Milan (1843), and Boston (1846), but passed out of the Paris Opera Ballet repertoire in 1868. In 1884 Marius Petipa, who essentially took the French repertoire to Russia with him, restaged Giselle at the Imperial Theatre, making his own changes, additions and omissions, as he did again in 1899 and finally in 1903 for Anna Pavlova. Petipa’s version was notated and forms the basis for subsequent revivals, although most Western productions are based on Diaghilev ’s 1910 staging for their second Paris season.

Count Albrecht of Silesia, in disguise as the peasant Loys, romances a young and sensitive village girl, Giselle, who falls completely in love with him and rejects her admirer Hilarion, a village hunter, despite his suspicions about her new beau and her mother Berthe’s concern that the girl is over-exerting her delicately-balanced emotions. Their alarm is justified with the arrival of an aristocratic hunting party including Bathilde, the Count’s beautiful and gracious fiancée, whose kindness to Giselle is bru-

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Production by

Sir Peter Wright

Music by

Adolphe Adam

Original Choreography by Staged by Lighting Design by

Jean Coralli Jules Perrot Margaret Barbieri Aaron Muhl

tally followed by Hilarion’s revelation of Loys as the Count. The despairing, overwrought girl sees his sword on the ground and in her madness, she stabs herself and dies.

Act Two takes place near Giselle’s forest grave, haunted by the Wilis and their Queen, Myrtha, the ghosts of jilted brides who revenge themselves by dancing to death any man they meet. Both her suitors visit Giselle’s grave and Hilarion falls victim to the Wilis. But when Albrecht is about to suffer the same fate, the spirit of Giselle intervenes and saves him from Myrtha’s merciless revenge, and the ballet ends with Giselle’s spirit finding peace by rejecting the Wilis and forgiving Albrecht.

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First Performed by the Paris Opera Ballet 28 June 1841 First Performed by The Sarasota Ballet 27 November 2009

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SIR PETER WRIGHT Choreographer

ADOLPHE ADAM Composer

Sir Peter Wright made his debut as a professional dancer with the Ballets Jooss during World War II, and in the 1950s worked with several dance companies, including the Sadler’s Wells Theatre Ballet, for which he created his first ballet, A Blue Rose, in 1957. In 1959 he was appointed Ballet Master to the Sadler’s Wells Opera and teacher at The Royal Ballet School.

The French composer and music critic Adolphe Adam, was born in Paris in 1803,.

The son of a composer and music professor at the Paris Conservatoire, he studied organ, although his father discouraged his musical career. In his twenties, Adam wrote songs and played in vaudeville theatre orchestras, composed prolifically for various Paris theatres, and travelled as far as Russia. He supplemented this by playing the organ and arranging for piano the operas of other composers, such as his former teacher Boieldieu.

In 1961 he went to Stuttgart as teacher and Ballet Master to the company being formed

by John Cranko. There he choreographed several ballets, including The Mirror Walkers, Namouna, Designs for Dancers and Quintet, and mounted his first production of Giselle, which he subsequently produced for The Royal Ballet, Birmingham Royal Ballet, and many other international companies. His interpretations of the classics include The Sleeping Beauty, Coppelia, Swan Lake, and The Nutcracker and these productions are now featured regularly in opera houses throughout the world. During the 1960s he also established himself as a successful director of television ballets and choreographed various West End musicals and revues.

In 1969 he returned to The Royal Ballet as Associate to the Directors and then became Associate Director. In 1977 he was appointed Director of Sadler’s Wells Royal Ballet, taking the Company to Birmingham in 1990, when it became Birmingham Royal Ballet.

On his retirement in July 1995 he was made Director Laureate of Birmingham Royal Ballet. He received the Evening Standard Award for Ballet in 1981, and in 1985 was made a CBE. In 1990 he was awarded an Honorary Doctorate of Music from London University, the University of Birmingham conferred on him the title of Special Professor Performance Studies, and he was presented with the Elizabeth II Coronation Award from the Royal Academy of Dance.

In 1991 he was made a Fellow of the Birmingham Conservatoire of Music. He also won the 1991 Digital Premier Award, which he used to commission a new ballet for the Company. He was awarded a knighthood in the 1993 Queen’s Birthday Honours List, in 1994 an Honorary Doctorate of Letters from the University of Birmingham and the Critics’ Circle Award 1995 for Distinguished Services to the Arts. He is president of the Benesh Institute (Dance Notation) and the Friends of Sadler’s Wells Theatre, and a vice president of The Royal Academy of Dance and the Myasthenia Gravis Association.

He is a governor of The Royal Ballet School.

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Of his more than eighty works for the theatre, including fourteen ballets, Adam is best remembered for his ballet Giselle (1841), the opera Le Postillon de Lonjumeau (1836) and the beloved Christmas carol O Holy Night, which is said to have been the first music ever broadcast on the radio.

At the height of his career, Adam fell out with the Director of the Opéra-Comique and opened the Opéra-National (Paris’ fourth opera house) in 1847, appealing to a wide popular audience. After investing all his own money and borrowing heavily to launch the venture, he was ruined when his new theatre had to close during the violent 1848 Revolution. While continuing to compose, to pay off his debts Adam was also obliged to take up music journalism and teach at his alma mater, the Paris Conservatoire, a workload that contributed to his premature death in Paris in 1856 at 52 years old.

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THE HISTORY OF SIR PETER WRIGHT’S PRODUCTION OF GISELLE Sir Peter Wright’s production of Giselle premiered in the summer of 1965 at the Stuttgart Ballet. The performances caused a sensation and its success brought his production into the repertoires of many of the great ballet companies throughout the world, forever linking Wright with one of the most beloved romantic full-length classics.

However, it almost never came to pass. Having just created a new production of Swan Lake for Stuttgart Ballet, Director John Cranko felt that the next full length ballet for the company should be Giselle, especially because their previous production had been rather a disaster. Cranko approached Wright, then ballet master, to mount the ballet. While honored to have been trusted with this project, Wright initially protested as he’d never performed the ballet, let alone enjoyed watching it! Eventually he agreed to Cranko’s request, and given carte blanche, Wright left for London for 6 weeks of research. Working with the esteemed Ballet Historian Ivor Guest, as well as Cyril Beaumont’s book, The Ballet Called Giselle, Wright’s passion for the romantic classic grew the closer he got to the original choreography and story behind the ballet.

His breakthrough came with the revelation of Giselle’s original death. In the productions that Wright had seen around the world, Giselle had died of a broken heart at the end of Act I. This never sat well with Wright, he thought it overly dramatic. It also made her burial in the woods even more senseless. This though, was not the original story! In an account of the first performance of Giselle at

the Paris Opera Ballet, she had gone mad, taken Albrecht’s sword and plunged it into her heart. Here now was not only a death that made sense, but one that would prevent her burial in hallowed grounds in a Church cemetery, forcing her mother to bury Giselle in the woods and exposing her spirit to the malevolent Wilis. With this revelation, Wright found his connection and inspiration, leading him to bring further characterizations with the other principal characters throughout the ballet. Albrecht transformed from a ‘sloppy’ Prince, to a young viral man looking to experience life before being forced to marry the spoiled Countess Bathilde, but who never the less genuinely falls in love with Giselle. Hilarion became a tragic hero, in love with a woman whose heart belongs to another, his grief and love leading him to Giselle’s grave and his untimely death.

Soon after Wright’s success at Stuttgart Ballet, his production of Giselle moved to The Royal Ballet, where at a 1968 matinee performance, a young corps de ballet dancer by the name of Margaret Barbieri performed her first Principal Role on the Covent Garden stage as Giselle. This performance would begin a long relationship between Sir Peter Wright and Barbieri, and as his production of Giselle toured around the world, so too would Barbieri. The combination of Wright’s choreography and Barbieri’s artistry would bring critical acclaim to them both and to this production of Giselle.

Margaret Barbieri & Egon Madsen

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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 of American Ballet Theatre Conducting this Season for Poetry and Liberty

A native of Sydney, Australia, Ormsby Wilkins, studied at the Conservatories of Sydney and Melbourne before joining The Australian Ballet and becoming 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. He will be returning to conduct for both these companies in 2019.

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 for Masters of Dance and Giselle

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 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

Jonathan McPhee | Music Director of Lexington Symphony Conducting this Season for Victorian Winters

Jonathan McPhee is equally at home as a conductor for the symphony, ballet, and opera. He is currently Music Director for the Lexington Symphony and maintains an active guest conducting schedule. Having recently completed his tenure of 28 years as Music Director for the Boston Ballet Orchestra, Mr. McPhee has also completed nearly a decade as Music Director for Symphony New Hampshire, having built that orchestra to become the premiere orchestra serving the entire state.

In recent seasons, McPhee has conducted many orchestras at home and abroad including London’s Royal Philharmonic Orchestra, The New York City Ballet, and regularly appears as guest conductor for the Houston Ballet.

McPhee was invited to conduct the Nashville Symphony as one of the conductors featured in the 2009 Bruno Walter National Conductor Preview by the League of American Orchestras. As Music Director for the Longwood Symphony Orchestra from 2005 to 2011, he garnered a Met-Life Award for Community Engagement in 2007 from the League of American Orchestras and the State of Massachusetts’ highest award in arts and culture, the Commonwealth Award, in 2011. As Music Director for Lexington Symphony, his Young People’s Program, “Orchestrating Kids Through Classics,” won the 2010 Music Advocate Award presented by the Massachusetts Music Educators Association (MMEA) as well as a NEA Grant in 2013.

McPhee also works as an arranger and composer are in the repertoires of orchestras and ballet companies around the world. His edition of Stravinsky’s Rite of Spring is the only authorized reduced orchestration of this work.

Cameron Grant | Pianist for New York City Ballet Pianist for Masters of Dance

Cameron Grant joined the New York City Ballet in 1984, became a Solo Pianist there 2 years later, and was appointed pianist of the NYCB Orchestra in 1998. He has performed all the major piano ballets of the company such as the Goldberg Variations and Dances at a Gathering of Jerome Robbins, Davidsbundlertanze of George Balanchine, and Waltz Project of Peter Martins as well as virtually all the piano concerti of the repertoire including those of Tchaikovsky, Ravel, Hindemith, Beethoven, Stravinsky, Prokofiev and Shostakovich. Grant has been the soloist in premieres of ballets by Richard Tanner, Robert La Fosse, and Christopher Wheeldon, and toured as a featured performer with the company on trips to Paris, Edinburgh, Athens, Taiwan, Korea, Japan, Italy, Russia, and Denmark. In 2004, he appeared in the Emmy Award-winning Live from Lincoln Center broadcast of New York City Ballet, as well as being invited (along with 3 other members of NYCB) to perform at the Kennedy Center Honors before the President.

Mr. Grant has performed extensively outside the ballet as well. He was pianist of the Leonardo Trio for 15 years, recording a CD and appearing across the United States and in Europe. As a member of the Grant-Winn duo-piano team, he was a prize winner at the Munich Competition and performed 200 concerts in the US, Canada, and Germany. As a soloist, he toured Japan and the Middle East, and made his New York debut at Town Hall. He has recorded for Orion (with Joel Krosnick), CRI, CBS, XLNT, Koch International, and 4-Tay. He has recorded 5 CDs with violinist Zina Schiff.

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“One of the finest venues for opera in the United States.”

—Musical America

THE 2018 FALL OPERA SEASON OCT 26–NOV 11 ROSSINI’S THE BARBER OF SEVILLE BRITTEN’S THE LITTLE SWEEP A Youth Opera Production

THE 2019 WINTER OPERA FESTIVAL FEB 9–MAR 24 PUCCINI’S TURANDOT MOZART’S THE MAGIC FLUTE VERDI’S NABUCCO OPERA TICKETS A COMIC DOUBLE BILL FROM JUST FEATURING DONIZETTI’S RITA & WOLF-FERRARI’S SUSANNA’S SECRET All operas performed in the original language with translations displayed above the stage.

See all 4 winter operas in as little as 3 days. Ask us about Opera Lovers Weeks!

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Sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs, and the Florida Council on Arts and Culture.

Sarasota Orchestra is proud to provide

LIVE MUSIC for select Sarasota Ballet performances.

Masters of Dance | Victorian Winters Poetry and Liberty | Giselle Discover Sarasota Orchestra’s Masterworks, Chamber, Discoveries, Pops, and Great Escapes series.

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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

Sydney Goldstein

Pat and Ann Kenny

Hillary Steele

Sora Yelin

Our Special Angel

Marcia Jean Taub and Peter Swain

Jean Weidner Goldstein

Thomas and Linda Klein

Peter and Bonnie Hurley

Joan Mathews

Paul and Sharon Steinwachs

R Curtis Jordan

Peter Miller and Dr. Martha Harrison

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Cheers, Sarasota Ballet!

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Sarasota Concert Association • 2019

GREAT PERFORMERS SERIES

Anderson & Roe, piano duo

Jan 14 • 7:30 pm • Van Wezel

Chamber Music Society of Lincoln Center Jan 24 • 7:30 pm • Van Wezel

Elizabeth Joy Roe and Greg Anderson

Czech National Symphony Orchestra

Feb 11 • 7:30 pm • Van Wezel

Academy of St Martin in the Fields

Feb 21 • 7:30 pm • Van Wezel

Pavel Haas Quartet

941-225-6500 www.scasarasota.org

Programs and artists subject to change without notice.

March 15 • 7:30 pm Riverview Performing Arts Center

Buffalo Philharmonic Orchestra April 3 • 7:30 pm • Van Wezel

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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F E AT U R E D A R T I C L E

APPARITIONS FEVERISH VISIONS AND DREAMS

A man sits writing alone in a room dominated by three windows arched in the Gothic style. As if reflecting his imaginings, three figures appear in the windows— a dashing hussar, a sinister monk, and a beautiful young girl dressed for a ball. In love with the girl but unable to express that love in his poem, he drinks a powerful potion that puts him to sleep. What follows are his increasingly feverish visions, beginning with a ball ….

This is the Prologue to Apparitions, Sir Frederick Ashton’s 1936 ballet set to the music of Franz Liszt while following the action of Hector Berlioz’s Symphonie Fantastique, thus uniting two of the central figures of 19th century Romanticism. As we follow our poet (for we assume that he is a poet) in search of l’Amour Supreme, his dreams become stranger: although the girl at first seems to return his love, it is with the hussar that she leaves the ball. Then the bells tell us that she is dead, her body carried by cowled figures across a barren plain. Or worse, masked, she betrays herself in a riotous orgy. Can such a love be borne? Yet in an Epilogue, we discover, it is love that survives, not the poet.

It was with this fantastic vision of a ballet that Ashton revealed new aspects of his talent during his first season as Resident Choreographer with Dame Ninette de Valois’ still young Vic-Wells Ballet. He had been making ballets for a decade by then, starting at 21 with A Tragedy of Fashion, a revue sketch prepared for his mentor, Marie Rambert. Since then he had choreographed many works for Rambert and her Ballet Club, six ballets for the Camargo Society (a subscription series founded to encourage British dancers and choreographers), two ballets for the Vic-Wells Ballet, a number of dances for West End shows, and staged the Virgil Thomson-Gertrude Stein opera Four Saints in Three Acts in Hartford and New York. He had also spent eight months in Paris dancing with the Ida Rubinstein company in ballets by Bronislava Nijinska and Léonide Massine, learning much about the choreographer’s art and craft.

Apparitions was not his first ballet on a Romantic theme.

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Shalott (1931), based on Tennyson’s poem, to music by Sibelius, and also Valentine’s Eve (1935), set to Ravel’s Valses nobles et sentimentales. In Mephisto Valse (1934), to Liszt’s music, the Devil’s violin draws couples in an inn first to dance and then to love.

These were all for Rambert. Now at the recently rebuilt Sadler’s Wells Theatre he had available a larger stage than Rambert’s tiny Mercury Theatre provided. Together with de Valois, herself a fine choreographer, and Constant Lambert, an established composer, conductor, writer, and general man of the arts, the triumvirate was in place to develop the company that would eventually become The Royal Ballet. And at his disposal was a troupe of young dancers including the sixteen-year-old Margot Fonteyn, who was ripe to become Ashton’s muse.

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music from pieces for piano he had been playing over with Ashton on spare afternoons. Most of them were unfamiliar late pieces, although he wrote Ashton that “I may allow you Valse Oubliée [No. 1] and Consolation [No. 3] as a sop to your feelings”—and the Valse and Consolation do indeed open the ballet, although in reverse order, while the Consolation also closes the Epilogue.

The exuberant Grand Galop Chromatique serves well for the climax of the ball, while the extraordinary Unstern (Evil Star) and R.W. Venezia, written on the death of Richard Wagner in Venice, close the second dream scene and begin the Epilogue. To heighten the menace of the orgy he chose the third of Liszt’s four Mephisto Waltzes, drier and therefore more threatening than the more familiar Mephisto No. 1 that Ashton had earlier used, with Lambert’s assistance, for the Ballet Club’s Mephisto Valse.

More unexpected are six pieces from Weihnachtsbaum, “The Christmas Tree,” a suite of carols and national pieces Liszt originally dedicated to a granddaughter. The pianist John Ogden called them “a most beautiful, successful and, for Liszt, unexpected composition.”

In Apparitions, his first original ballet for his new company, Ashton created his first notable role for Margot Fonteyn. They had worked together before, including earlier that season on Stravinsky’s Le Baiser de la fée (originally choreographed by Nijinska for Ida Rubinstein), with Fonteyn dancing the Bride who is abandoned as her groom is reclaimed by the icy Fairy whose kiss had earlier marked him as her own. With Apparitions, however, much of the ballet’s effect depended on the still inexperienced Fonteyn and her interaction with Robert Helpmann, the young Australian who had by default become the company’s Premiere Danseur Noble when Anton Dolin left to form a company with Alicia Markova, the beloved ballerina Fonteyn was to replace as the Vic-Wells troupe created its own stars.

“Apparitions, you will be glad to hear, is the biggest success we have ever had at the Wells,” Lambert wrote Beaton, who was already in New York on another project. “The dress rehearsal was too depressing …. But when we opened, there was a most marvelous atmosphere … and the ballet went over as a whole with real dramatic

This was a particularly busy time for Lambert, for in addition to conducting for the ballet he was also putting finishing touches on his most ambitious composition, Summer’s Last Will and Testament, a nearly hour-long cantata for baritone, chorus and orchestra to poems by the Elizabethan playwright Thomas Nashe depicting a London beset by plague. As its premiere was only two weeks before that of Apparitions, he asked his friend Gordon Jacob, a composer who had written a book on orchestration, to score the ballet, which he did most effectively.

After considering several designers, including the established, and therefore expensive, Pavel Tchelitchew and Sophie Fedorovitch, who had often worked with Ashton in the past and would go on to design many of his ballets, they chose Cecil Beaton, then best known as a photographer, who was at the same time working with Ashton on a lighter ballet, The First Shoot, for a Cochran review. This was an expensive production by Vic-Wells standards—for one thing, Beaton insisted that the ball gowns be made

by Madame Karinska’s workshop rather than the much cheaper Old Vic workshop—additional funding eventually coming from the now-defunct Camargo Society and several private donors, while Beaton also contributed his £50 fee for a final cost of just over £500, an astonishing bargain.

Beaton’s designs did much to establish the ballet’s atmosphere, preferring suggestion over elaborate, realistic scenery. To suggest a ballroom, for example, there were projections of musical instruments and bits of music against a row of ivory-colored wings on one side “into which half of the dancers keep disappearing from view, so that those on the stage appear to be dancing with invisible partners,” according to the poet and critic Dyneley Hussey.

Apparitions Original Cast - Sir Robert Helpmann

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suspense all the time…. The Galop in the Ballroom Scene is the most exciting thing I have ever known and the Funeral Procession was equally good in its way. “ Audiences and critics alike were delighted. The anonymous critic of The Dancing Times found Ashton’s choreography “very satisfying. The delicate groupings of the dancers in the ball scene, the macabre effect of the cavern tableau, and the solemn pageantry are finely conceived and brilliantly executed.” And Arnold Haskell found that the music “possesses the dramatic continuity of a deliberately written ballet.”

A boon for the young company, the ballet had seventeen performances by the end of the year and sixty-five by 1943, when it was temporarily retired. It returned in 1949, redesigned by Beaton for the larger stage at Covent Garden, where the company had moved in 1946, as they prepared for their first American tour. In New York, though, perhaps lost in The Metropolitan Opera’s vast spaces, it was one of the ballets quite eclipsed by The Sleeping Beauty and Swan Lake, although still presented at Covent Garden for several more seasons.

A glimpse of the ballet, however, was a highlight of the remarkable tribute paid to Ashton when he retired as director of The Royal Ballet in July 1970. Among the thirty-three excerpts from his ballets was the ball scene from Apparitions, danced once again by Fonteyn, but now with a new poet, Rudolf Nureyev. A 1987 revival by London Festival Ballet was considered much less successful, in part owing to casting.

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Ashton was to return to the music of Liszt for two more ballets and a pas de deux after Apparitions. In 1940, as Britain plunged into total war, he revealed a new emotional depth with Dante Sonata. To Lambert’s arrangement for piano and orchestra of Liszt’s Dante Sonata, subtitled “after a reading of Dante,” the Children of Light, led by Fonteyn and Michael Somes, contend with the Children of Darkness, led by Helpmann and June Brae, ending bleakly with a double crucifixion. Then in 1963, twelve years after Lambert’s death, he turned to Liszt again for Marguerite and Armand with Fonteyn and Nureyev, once again designed by Cecil Beaton. Finally, in 1971 he made a pas de deux to Liszt’s song Oh, quand je dors. Given a single performance at a charity gala, Fonteyn was again a poet’s muse, this time partnered by Desmond Kelly.

In many ways, Apparitions represents a turning point in Ashton’s career. Before then he had been a freelance choreographer with special ties to Rambert and her Ballet Club. Now, with a permanent position with an established company—and an income of £10 a week ($880 today) as dancer and choreographer, but no royalties— he gradually gave up working with revues and films to devote himself primarily to the ballet. It was a major step toward becoming the master choreographer that we know today.

George Dorris

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THE SARASOTA BALLET ADMINISTRATIVE DEPARTMENT

CHAD MORRISON

KRISTIE COX

JASON ET TORE

General Manager

Finance Director

Marketing Director

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LAUREN STROMAN

EDWARD LEVESQUE

ROD KELLY

KATHERINE KNOWLES

AMY HERNDEN

Development Officer

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Development Consultant and Grants Manager 941.359.0099 x 119 kknowles@sarasotaballet.org

Special Events Manager

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Box Office and House Manager 941.359.0099 boxoffice@sarasotaballet.org

BARBARA EPPERSON

JACOB DUVALL

WHITNEY WARD

JUAN GARCIA

TINA TAYLOR

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

Finance Assistant

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Box Office Assistant

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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

MARK NOBLE

ZARA BAROYAN

Stage Manager 941.359.0099 x 116 mnoble@sarasotaballet.org

Pianist

Photography in the 2018 - 2019 Season Program Book

Frank Atura

Dance Photography

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Matthew Holler

Portrait 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, the Surrey Festival of Dance (Canada), the Connecticut Classic, the ADC International Ballet Competition, and the Seminário Internacional de Dança de Brasília. 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. Hird has expanded the visibility of the Education Programs, with performances at Selby Gardens, Inspire Sarasota, and Lakehouse West among others. He has enhanced the Margaret Barbieri Conservatory, launching a new Trainee Program, as well as a summer exchange program with Canada’s National Ballet School. In addition, Hird oversees The Sarasota Ballet Studio Company, and has developed the Adult Program to offer more opportunities for students.

LISA TOWNSEND

MARLENA ABAZA

SUE PETERSON

LAUREN TAYLOR

PATRICIA STRAUSS

Dance – The Next Generation Program Director

Head of Middle Division

Head of Children’s Division

Education Administrator

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Full Time Faculty Classical Ballet

ELIZABETH WEIL BERGMANN

DIERDRE MILES BURGER

ISABEL DUBROCQ

CLAUDIA LYNN RIGHTMIRE

DAVID TLAIYE

Part Time Faculty Modern

Guest Faculty Ballet

Part Time Faculty Classical Ballet

Part Time Faculty Modern

Part Time Faculty Classical Ballet

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ADDITIONAL FACULT Y Sarah Krazit Octavio Martin Sarah Metzler Sara Scherer Jean Volpe

Classical Ballet Classical Ballet Classical Ballet Classical Ballet Classical Ballet

Marcus Alford Erin Fletcher Karen Shapiro Zara Baroyan David Eichlin

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PRE-PROFESSIONAL PROGRAM Directed by Margaret Barbieri, Assistant Director of The Sarasota Ballet, the Conservatory offers a pre-professional program designed to prepare students for a career in classical ballet with The Sarasota Ballet and other national companies. Led by Principal Christopher Hird, the Conservatory has a world-class faculty committed to excellence and providing the highest quality dance education.

Students ages 10-19 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 along with professional development lectures and a wellness team provides valuable support to the students.

NEW TRAINEE AND EXCHANGE PROGRAM A new Trainee Program was launched this year bringing talented students who are preparing for their first steps as a professional dancer. Students have joined the program from as far afield as Puerto Rico and Australia. This summer we had our first student represent The Sarasota Ballet in our exchange with Canada’s National Ballet School.

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NEW PARTNERSHIPS In April 2018 we partnered for the first time with The Sarasota Youth Opera and the Sarasota Music Conservatory for our annual Spring Showcase enabling new choreography by Company Dancer Jamie Carter and faculty member Octavio Martin to be performed to live music. The performance at the Sarasota Opera House was a true collaboration and celebration of the talented youth in Sarasota, and will continue in the 2018 - 2019 Season.

RECOGNIZING OUR DONORS The Conservatory’s Ashton studio was formally named by a generous gift from the Muriel O’Neil Fund at the Community Foundation of Sarasota County. A naming ceremony attended by Roxie Jerde unveiled a special plaque placed outside the studio door.

In addition we would like to extend our thanks to the Eliza Culverhouse Foundation and Maryann Armour for their generous gifts which will enable us to purchase new practice tutus for the Trainee Program, conditioning equipment for the students, and allow us to be recognized by the National Honors Society for Dance Arts.

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 CLASSICAL BALLET Dierdre M iles Burger Isab el Dubrocq Sarah K razit O c tavio M ar tin Patr icia Strauss David Tlaiye J ean Volpe MODERN / JAZZ Elizabeth Weil B ergmann Claudia Lynn R ightmire M arcus Alford P I L AT E S A N D CO N D I T I O N I N G K aren Shapiro G U E S T T E AC H E R S 2017 - 2018 S E A S O N Paul Boos - former soloist with New York City Ballet and Balanchine Trust Repetiteur Shelby Colona - dancer with Ballet Hispanico Marcus Galante - former Broadway Performer Kelley Potter - dancer with American Ballet Theatre Jennet Zerbe - University of North Carolina School of the Arts 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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Podiatrist Dr. Robert F. Herbold Proud participant in the Doctors’ Circle

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AUDITION DATES MINNEAPOLIS JANUARY 5 NEW YORK JANUARY 6 CINCINNATI JANUARY 13 BOSTON JANUARY 18 ATLANTA JANUARY 20 CHICAGO JANUARY 21 WASHINGTON DC JANUARY 26 FORT WORTH JANUARY 26 WINSTON-SALEM JANUARY 27 SARASOTA photography by Frank Atura

JANUARY 27 MIAMI FEBRUARY 3

PRE-REGISTER ONLINE

INTERNATIONAL INTENSIVE SUMMER 2019

Made possible by Muriel O’Neil Fund at the Community Foundation of Sarasota County

INTERNATIONAL FACULTY THE SARASOTA BALLET IAIN WEBB Director MARGARET BARBIERI Assistant Director CHRISTOPHER HIRD Director of Education KATE HONEA Principal Dancer OCTAVIO MARTIN Assistant Ballet Master DIERDRE MILES BURGER Former Director of

Orlando Ballet School

P: 941.225.6520 E: education@sarasotaballet.org www.sarasotaballet.org/education

ADDITIONAL GUEST FACULTY TO BE ANNOUNCED FOLLOW US ON SOCIAL MEDIA:

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 receive free tickets to attend Company performances and from age 8 are eligible to audition for Company productions such as John Ringling’s Circus Nutcracker.

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NEW STUDIOS

EW NE W STU DI OS COMIN COM IN G SOON

This year we open our brand new facility in downtown Sarasota. We now have a purpose built home in the up and coming Rosemary Square arts district with 2 studios and a waiting area for parents. The downtown location will enable us to offer performances and opportunities for the local community to engage further with The Sarasota Ballet.

NEW HEAD OF CHILDREN’S DIVISION We welcome Sue Peterson to The Sarasota Ballet School. She will be overseeing the Children’s Division, and brings a wealth of experience having run successful schools both in the UK and USA. We now offer classes from age 2 and up with our new Hand in Hand class for students and parents to discover the joy of dance together.

THE SARASOTA BALLET SCHOOL H E A D O F C H I L D R E N ’S D I V I S I O N Sue Peterson HEAD OF MIDDLE DIVISION M ar lena Abaza CLASSICAL BALLET Sarah K razit Sara S cherer Patr icia Strauss MODERN/JAZZ M arcus Alford Er i n Fletcher Claudia Lynn R ightmire

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DANCE – THE NEXT GENERATION Dance – The Next Generation 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 state of the art 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 is eligible to apply for a scholarship at the State College of Florida, Manatee-Sarasota, or University of South Florida Sarasota-Manatee once they meet the college’s eligibility requirements.

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.

NEW PARTNERSHIP We are proud to announce our new partnership with Take Stock in Children – Sarasota. Both organizations share a dedication to helping at-risk students obtain a higher education and a bright future. This new partnership will allow DNG students from 6th-9th Grade the opportunity to gain a mentor and will lead to further college scholarships.

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

Please Join Us In Thanking The Following Organizations:

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Photography Fred Doery

Photography Fred Doery

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 E N R I C H M E N T CO O R D I N ATO R David Eichlin CLASSICAL BALLET Lisa Townsend Sarah M etzler

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 M arcus Alford Er in Fletcher Claudia Lynn R ightmire V O LU N T E E R CO O R D I N ATO R M adonna S chaeffer

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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.

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

From Absolute Beginner to Intermediate, the open ballet classes allow you the flexibility to drop in whenever you like. Class cards are available for a discounted rate.

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 M ar lena Abaza Sarah K razit Patr icia Strauss Lisa Townsend

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2018 - 2019 Program Book

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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 Inspire Sarasota, we reach thousands of people each year, under the leadership of Director of Education Christopher Hird.

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 costs for the students are covered entirely by The Sarasota Ballet.

NEW COLLEGE PARTNERSHIP The Sarasota Ballet is proud to partner with the New College of Florida. With funding from the Andrew W Mellon Foundation, New College now offers a for-credit class taught by faculty from The Sarasota Ballet as well as a new ‘mini-residency’ allowing students and the local community to discover dance. This past year, Paul Boos, former soloist with New York City Ballet gave a public lecture on the genius of George Balanchine and a Master Class for New College and local students.

PERFORMING IN THE COMMUNITY Dancers from The Sarasota Ballet’s Studio Company and students from the Margaret Barbieri Conservatory appeared at a variety of local community events. Last season they included the annual Inspire Sarasota event at Five Points Park, University Town Centre Mall as part of its Spring Concert Series, and the monthly Marketing on Main events.

We were very excited to be asked to perform once again as part of Selby Gardens Warhol Nights in April 2018. Over 250 guests enjoyed a mix of ballet and modern dance including a world premiere creation by Elizabeth Weil Bergmann. In 2019, we will be back at Gauguin Nights on April 10.

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OUTREACH E nr i c h

Engage

Educate

CHRISTOPHER HIRD Director of Education 941.359.0099 x 124 chird@sarasotaballet.org

EDUCATION FOR ALL An important part of The Sarasota Ballet’s mission is to bring dance to a wider community. This past year, Christopher Hird gave lecture demonstrations at Pelican Cove community, and retirement homes including Plymouth Harbor and Lakehouse West. Christopher also taught two 8 week courses on ballet history at the Ringling College of Lifelong Learning.

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 • Arts and Cultural Alliance of Sarasota County • Culture Collective • Designing Daughters • Designing Women • Ed Explore • Girls, Inc.

• The Glenridge • Florida Watercolor Soc. • Lakehouse West • Leadership Sarasota County • Longboat Key Club • Manatee County Schools

• The Meadows Community Association • Osher Lifelong Learning Institute at Ringling College • Ovation - Lakewood Ranch • Plymouth Harbor

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

• Sarasota Bay Club • Sarasota County Schools • Sarasota Downtown Alliance • Selby Gardens • Young Professionals Group

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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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Your future Our focus

W. Scott Parker Senior Vice President–Wealth Management 954-527-6337, scott.parker@ubs.com UBS Financial Services Inc. 401 East Las Olas Boulevard, Suite 2300 Fort Lauderdale, FL 33301 ubs.com/coastalpartners

ab

© UBS 2018. All rights reserved. UBS Financial Services Inc. is a subsidiary of UBS AG. Member FINRA/SIPC. CJ-UBS-307790600 Exp.: 10/31/2019

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T H E

P E R L M A N

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15th ANNIVERSARY EVENTS Itzhak Perlman – In the Fiddler’s House A Night of Klezmer December 17, 2018 • 7:30 PM Van Wezel Box Office 941-953-3368

PMP Sarasota Winter Residency December 20, 2018 - January 5, 2019

Complete schedule and tickets online in November

Celebration Concert

January 5, 2019 • 5:00 PM • Sarasota Opera House Sarasota Opera House Box Office 941-328-1300

PMP Alumni: Around Town

Performances in November, February & April Visit PMPSuncoast.org for information and tickets

th PMPSuncoast.org • 941-955-4942

Anniversary

Special hotel rates available.

Visit PMPSuncoast.org for more information.

DOCTOR’S CIRCLE 2018 - 2019 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. Susan M. Sloan 500 S Orange Avenue Sarasota, FL 34236 941.365.4060

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

INTERNAL MEDICINE 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

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

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

Fyzical 5922 Cattlemen Lane Sarasota, FL 34232 941.313.3383

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

PODIATRY

OBSTETRICS & GYNECOLOGY

DIAGNOSTIC SERVICES Partners Imaging Center of Sarasota 1250 S Tamiami Trail, Suite 103 Sarasota, FL 34239 941.951.2100 DIAGNOSTIC SERVICES CONTINUED Sarasota MRI 2 N Tuttle Avenue Sarasota, FL 34237 941.951.1888

David A. Sugar MD Sugar Orthopaedics 1921 Waldemere St. Sarasota, FL 34239 941-556-6900

EYES

Dr. Karin Stanton , DO, FACOG Gulf Coast Obstetrics & Gynecology Of Sarasota, LLC 1950 Arlington St., Suite 203 Sarasota, FL 34239 941-379-6331 OCULOFACIAL SURGERY

Dr. Robert Goecker West Coast Podiatry Center 1961 Floyd Street, Suite D Sarasota, FL 34239 941.366.2627 Dr. Robert F. Herbold 4717 Swift Road Sarasota, FL 34231 941.929.1234 Dr. Paul Yungst 1921 Waldemere Street, Suite 106 Sarasosta, FL 34239 941.917.6232

Dr. Holly Barbour 1250 S Tamiami Trail, Suite 302 Sarasota, FL 34239 941.951.2220 ORAL AND MAXILLOFACIAL SURGERY Todd J. Reuter, DMD, MD Sarasota Oral & Implant Surgery 2130 S Tamiami Trail Sarasota, FL 34239 941.365.3388

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 SARASOTA BALLET 2018 - 2019 S E A S O N

YOUR SPECIAL INVITATION J O I N A V I B R A N T CO M M U N I T Y O F DA N C E E N T H U S I A S T S T H E F R I E N D S O F T H E S A R A S OTA B A L L E T As a member of the Friends of The Sarasota Ballet you will: • Contribute to the success of one of the most exciting ballet companies in America • Share in the Company’s growth and achievements • Meet the dancers and become “an insider” • Observe the dancers in class • Deepen your understanding of the art form • Make new friends who are also ballet and art enthusiasts • Receive quarterly newsletters and invitations to special events • Receive advance notice of performances by the Studio Company and The Conservatory • Through your volunteer efforts, learn more about how the Company works

MAKE CONNECTIONS

SHARE THE PASSION

There are many interesting ways to volunteer your time at The Sarasota Ballet. For example, the Ballet depends on volunteers to assist in the Box Office, guide the Backstage Tours and mentor Dance–The Next Generation students.

Please consider which volunteer opportunities most interest you and let us know about your special skills or areas of expertise.

We hope you will become a member of the Friends of The Sarasota Ballet. For further information please contact the Membership Chair: Betty Ferguson, Friends Membership Chair Telephone 917-885-4699 Email bcamarest@yahoo.com Thank you in advance for your response and we look forward to working with you as we participate in the success of this amazing ballet company.

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FRIENDS OF THE SARASOTA BALLET 2018 - 2019 S E A S O N

VOLUNTEER OPPORTUNITIES

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. Friends provide support by assisting with homework, serving snacks, and mentoring students who take advantage of the discipline of dance to excel in life.

“

LUNCHEONS AND SPECIAL EVENTS The Friends popular Showcase Luncheons and special social events are held throughout the year. There are opportunities to volunteer for the Events Committee and participate in selecting menus, designing decorations and engaging entertainment for these gatherings. Committee members also participate by taking reservations, greeting guests and helping with auctions as well as other fundraising projects.

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

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.

INFORMATION AND ADVOCACY Volunteers are always welcome to help at the Lobby Information Desk, distribute “Will Call” tickets and disseminate marketing materials prepared by the Ballet. There are two “Special Services” committees that use volunteers to communicate with members who do not use email.

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 Richard March 941.343.7117

EX OFFICIO Richard Johnson Board Chair, The Sarasota Ballet

Vice President Donna Maytham

941.351.5361

Iain Webb Director, The Sarasota Ballet

941.242.2554

Joseph Volpe Executive Director, The Sarasota Ballet

Secretary Peggy Sweeney Treasurer Elaine Foster Past President Barbara Jacob

941.922.8498 561.573.6868

“

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.

STANDING COMMITTEE CHAIRS OUTREACH Andi Lieberman Doug Endicott

630.862.4681 207.266.2345

COMMUNICATION Jane Sheridan

508.367.4949

DANCERS’ SUPPERS Peggy Sweeney Laurie Fitch

941.242.2554 941.925.7391

EDUCATION LIAISON Bruce Ensinger

740.228.1464

SPECIAL EVENTS Donna Maytham Colleen Curran Phyllis Myers

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941.351.5361 312.339.6003 941.993.2170

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MEMBERSHIP Betty Ferguson

Newsletter 941.497.7841

SPONSORSHIP DEVELOPMENT Laurie Feder

203.952.7617

THEATRE SUPPORT Melliss Swenson

941.951.6319

VOLUNTEER COORDINATOR Barbara Fischer Long

941.358.9426

SPECIAL SERVICES Linda Glover Katie Couchet

941.351.4409 941.475.6475

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Call for Customer Service 800 775 DANCE Dancers work here.

Store Hours: Monday-Saturday, 10am-6pm 1283 S. Tamiami Trail Midtown Plaza, Sarasota 941-955-CORK (2675)

Shop Online Anytime: www.MichaelsWineCellar.com

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.

Nancy Abrams Peggy and Ken Abt Kay Aidlin Patricia and Richard Anderson Elaine and Robert Appel Natalie Armstrong Carol Arscott Gaele Barthold and Lawrence Weiss Isabel Becker Rhoda and Herb Beningson Kacy Carla Bennington Charlotte Bimba Barbara Blackburn Shirley Blair Barbara Blumfield Lydia Bohn Robert Boyd Arline Breskin Sunny Brownrout Susette T. Bryan Beverly and Michael Budin Kristine Bundrant Chris and Jon Butcher Diana Cable Judy Cahn Peter and Judy Carlin Frank Cerullo Lynn Chancer Marsha Chernick Barbara Chertok Juanita and Clyde Connell Evelyn and Glenn Cooper Pat Corson Katie Couchot Sandra Cowing Anna Critchfield Donna Cubit-Swoyer Colleen Curran Donna Marie D’Agostino

Jacqueline and Harold D’Alessio Susan Loren Davidson Gail Davies James and Leila Day Robert de Warren Kay Delaney and Murray Bring Patricia Delvecchio JoAnne DeVries Diane DiBenedetto Lynda Doery Angela Dolorico Barbara Dubitsky Dr. Laila Ebert Marsha and Harry Eisenberg Douglas Endicott Francine D. and Claude Engle Bruce Ensinger and Clark Denham Barbara E. Epperson Virginia Everett Leslie Farrand Laura Feder Shirley Fein Patricia Fennessey Ann Fenton Betty Ferguson Maureen Ferguson and Thomas Steiner Sandy Fink Beverly Fisher Yvette Fishman Laurie Fitch Bert Fivelson Majorie Floyd and Caroline Amory Marlene Forster Elaine Foster Suzanne Freund Mikal H. Frey Jennifer Gemmeke Kathryn Gibby Jacqueline Giddens

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Susan Giroux Linda A. Glover Nancy Gold Ellen Goldman Patricia Golemme Kathryn Goodwin Sue Gordon William and Zoe Gordon Dr. Joseph Grande Bob Griffiths and David Eichlen Debbie Grovum Carol Ann Hallinger Renee Hamad Barbara Harrison Kathryn Harvey Cathy Hathaway William Hatz Charlotte Hedge Martha Hennes Laurie Hofheimer Carolyn Ann Holder Jean and Peter Huber Barbara Hyde Carol Hyde Arlene H. Irons Vlatka Ivanisevic Ellen Jabbur Barbara Jacob Barbara Jacoby Barbara Jarabek Richard Johnson Anne Jones Alison Jones Merrill Kaegi Marcia Katz Ken Keating Terry Kees Carolyn Keidel Ann and Pat Kenny Barbara Kerwin

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INTERNATIONAL CHAMBER MUSIC FESTIVAL

Truthful & Timeless

Concert Series April 8-17 Sarasota Opera House The finest musicians from around the world present both familiar and unusual chamber music.

Open Rehearsals April 6-16 Sainer Pavilion Discover how notes come together to form a musical masterpiece and how musicians make this happen.

Meet the Musicians April 12 Dolphin Aviation Mingle with the musicians and enjoy a mini concert in the hangar. Wine and light bites are served.

Everything else pales in comparison.

photo/Frank Atura

LaMusicaFestival.org

941-366-8450 ext. 7

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

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2018–2019 SEASON

ROOTED SCD + NOW ENSEMBLE

DANCE MAKERS

VOICES – EMERGING CHOREOGRAPHERS

EVOLVING/REVOLVING

Jan 31 – Feb 3, 2019

May 2–5, 2019

Dec 6–9, 2018

TICKETS: Sarasota Ballet Box Office 941.359.0099 / SarasotaContemporaryDance.org

PHOTO BY SORCHA AUGUSTINE

Oct 11–14, 2018

Marlene Kitchell Robin Klein-Strauss and Michael Strauss Pat Klugherz Philippe Koenig Robert Ladieu and David Hamilton Anita Lambert Gail Landry Harriet K. Lane Jean Shorr Langhaug Marianne Lauria Iris Leonard Alicia and Michael LeVine Judith Levine Marlene and Hal Liberman Cynthia Lichtenstein Andrea Lieberman Tina and Rick Lieberman William and Annette Lloyd Barbara Fischer Long and James Long Jan Lovelace Francine Luque Kathleen Macdonald Meg Maguire Patricia Maguire Richard and Helen March Judith and Donald Markstein Carolou and Lou Marquet Mary Lee Martens and Charleen Alper Jean Martin Barbara Mask Joan Mathews Donna Maytham Helen McBean Nathalie McCulloch Leanne McKaig Mary Jane McRae Jennifer Meinert Holly Meyers Diane Milrod Sandra Miranda Jean A. Mitchell

Mary Mitchell Raymond and Maralyn Morrissey Phyllis Myers Diana and Andrew M. Myers Martha Naismith Gene Noble Marilyn Nordby Mercedita OConnor Conrad and LenĂŠe Owens Virginia H. Page Jeannette Paladino Helen Panoyan Diane Paver Virginia and Stuart Peltz Colette Penn Susan Peterson Sharon Petty Bernard and Elaine Pfeifer Julie Planck Kathy Pollack Fannie Porter Richard Prescott and DJ Arnold Rose Marie Proietti Barbara Quinn Jimmye Reeves Rebecca Reilly Pam Reiter Mary Jo Reston Cheryl Richards Anne Roberts Margot and Jack Robinson Terry and Susan Romine Sydell Rosen Sally Ross Dr. Jack and Lenore Rubin Marcia and Sidney Rutberg Beverly Ryan Larry Sage Phyllis Schaen Barbara Schott Eda Scott Carol and Erwin Segal John and Carole Segal Tracy Seider Micki Sellman

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Elizabeth Shalett Jane Sheridan Murray and Abby Sherry Renee Silverstein Rita Sinaiko Dr. Paul Smilow and Truli Smilow Carol and Tom Smith Irene Stankevics Carol Stares Barbara Staton Hillary Steele Mildred F. Stein Judilee Sterne Louise Stevens George J. Straschnov, MD Ann Sundeen Peggy Sweeney Melliss K. Swenson Virginia and Dee Tashian Joan Tatum Marcia Jean Taub and Peter Swain Veronica Tcherevkoff John Teryek Carolyn Thompson Janet Tolbert Marianne L. and Niels Trulson Mary Kay Urell Susan Valentine Lauren Ann Walsh Tom and Gwen Watson Jo-An M. Webb Rita Weingarten Myrna and Jeremy Whatmough Kim Wheeler Tina Widen Laurie Wiesemann Edie Winston Elizabeth Wolfe Betsy Wollman Pauline B. Wood and Wesley Spencer Betty York Dr. Elaine Zwelling

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ADVERTISERS INDEX 1st Source Bank Alison M. Gardner - RBC Wealth Management Allegiant Private Advisors Ameriprise Financial Services, Inc. - David Yarletts Art To Walk On - Fine Oriental Carpets Arthur Schwartz, MD, JD, MSC Bart Price, M.D. - Concierge Medical Services Bijou Café BMO Private Bank Bodywise Physical Therapy Bookstore 1 Sarasota Canandaigua National Bank and Trust Caragiulos Italian American Restaurant Charlotte’s Grace Fine Linens & Luxe Home Accents

58 134 18 33 42 156 41 153 3 77 140 139 42 42

Church Of The Redeemer Community AIDS Network Community Foundation of Sarasota Cumberland Advisors Designing Women Boutique Dex Imaging - Document Technology Donte’s Den Foundation Eurotech Cabinetry, Inc. Florida Chiropractic & Rehabilitation Clinics Galleria Silecchia - Art Gallery Gulf Coast Community Foundation Innovative Dining J.L. Bainbridge | John Leeming, CFP Jewish Federation of Sarasota-Manatee

42 37 6 60 41 139 80 10 139 42 Inside Front 134 61 81

Exquisite Collection of Masters to Modern Fine Art Expertly curated collections of work.

Artists such as Appel, Arms, Bernard, Braque, Calder, Cassat, Chagall, Daubigny, Giacometti, Koitsu, Lalanne, Toulouse Lautrec, Maillol, Manet, Matisse, Miro, Moore, Oldenburg, Picasso, Rauschenberg, Renoir, Rembrandt, Rousseau, Somm, Steinlen, Ting, Turner, Whistler, Zorn, and many more

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La Musica 162 Lakewood Ranch Dental 162 LernerCohen Concierge Healthcare 80 Marianne E - Antiques, Home Decor & Gifts 43 Martin Freeman Clothing 43 Matthew Holler Photography 160 Mauldin & Jenkins, LLC 162 Meg Krakowiak Contemporary Art Gallery & Studio 43 Michael’s Events & Catering 56 Michael’s on East 56 Michael’s Wine Cellar 160 Morton’s Gourmet Market 146 New York Dancewear Company, LTD. 160 Observer Media Group 86 Palm Avenue Fine Art - International Living Artists 43 Parker Group - UBS Financial Services 156 Pelindaba Lavender - Organic Lavender Products 43 Perlman Music Program Suncoast 156 Peter G. Laughlin / Premier Sotheby’s 8 Peter G. Magnuson / Financial Advisor 140 Plymouth Harbor - Retirement Community 17 Podiatrist Dr. Robert F. Herbold 146 Rugs as Art - Area Rug Superstore 81 Salon Forty-one - On Palm Ave. 43 Sarasota Bay Club - Retirement Community 2 Sarasota Concert Association 134 Sarasota Contemporary Dance 162 Sarasota Magazine 61 Sarasota Memorial Healthcare Foundation 35 Sarasota Opera 132 Sarasota Orchestra 132 Selva Grill 4 Serbin Printing 153 Shade and Shield, Inc. 140 Shapiro, Goldman, Babboni, Fernandez and Walsh 153 SkinSmart Dermatology 156 Southeastern Guide Dogs 12 Stakenborg/Greenberg Fine Art Gallery 164 Studio South Fitness 64 Susan H. Weinkle, M.D.- Dermatologist 160 Susan M. Sloan, O.D. - Advanced Vision Care 140 Susan T. Wilson - Morgan Stanley 39 Take Care Private Duty Home Health Care 146 The Mark - Kolter Urban 20 The Ritz - Kolter Urban Inside Back University OBGYN 39 WEDU 58 Wilde Automotive Family 22 Williams Parker Harrison Dietz & Getzen Back Cover WUSF 60

Fine Art Gallery 1545 Main Street Sarasota, Florida 34236 (941) 487-8001 Stakenborg-Greenberg.com

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UNDER CONSTRUCTION FALL 2018

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 glistening shores of Sarasota Bay. A world of panoramic water views, private amenities, unparalleled resort pleasures and legendary Ritz-Carlton service.

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Ready to revolve around you.

New Waterfront Residences from $2.4 Million 1111 Ritz-Carlton Drive | Sarasota, Florida 34236

•

941-702-2300 | www.TheResidencesSarasota.com

The Ritz-Carlton Residences, Sarasota are not owned, developed or sold by The Ritz-Carlton Hotel Company, L.L.C. or its affiliates (“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. *Developer is not affiliated with The Ritz-Carlton Beach Club or Golf Club. Initiation Fee for Gold Membership is included with Purchase. 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.

®