2019-2020 Season Program Book

2019 - 2020 SEASON

THE ARTS

IMAGE: TIM JAEGER

GULFCOASTCF.ORG/25

T H E S A R A S OTA B A L L E T ’ S

2019 - 2020 SEASON GRAZIANO, RETROSPECTIVE PROGRAM 1 | 25 - 27 OCT 2019 Ricardo Graziano’s Shostakovich Suite Ricardo Graziano’s En Las Calles de Murcia Ricardo Graziano’s In a State of Weightlessness FSU Center for the Performing Arts

SYMPHONIC TALES PROGRAM 2 | 22 - 23 NOV 2019 George Balanchine’s Theme and Variations Sir Kenneth MacMillan’s Las Hermanas George Balanchine’s Western Symphony Sarasota Opera House Accompanied by the Sarasota Orchestra

THE SARASOTA BALLET PRESENTS

PAUL TAYLOR DANCE COMPANY PROGRAM 5 | 28 FEB - 1 MAR 2020 “One of the most exciting, innovative, and delightful dance companies in the entire world.” - The New York Times FSU Center for the Performing Arts

ROMEO & JULIET

BEYOND WORDS PROGRAM 7 | 24 - 25 APR 2020 Jerome Robbins’ In the Night Sir Frederick Ashton’s Dante Sonata David Bintley’s The Spider’s Feast Sarasota Opera House Accompanied by the Sarasota Orchestra

PROGRAM 6 | 27 - 28 MAR 2020 Sir Frederick Ashton’s vivid portrayal of Shakespeare’s tragic story of starcrossed lovers, combining exquisite choreography and storytelling.

Van Wezel Performing Arts Hall Accompanied by the Sarasota Orchestra FRONT COVER PHOTOGRAPH BY FRANK ATURA

Kate Honea & Luke Schaufuss in Sir Frederick Ashton’s Romeo & Juliet

JOHN RINGLING’S CIRCUS NUTCRACKER PROGRAM 3 | 20 - 21 DEC 2019 Matthew Hart’s wonderfully festive ballet, beautifully blending the traditional Nutcracker story with Sarasota’s rich Circus history.

Van Wezel Performing Arts Hall Accompanied by the Sarasota Orchestra

REDEFINED MOVEMENT PROGRAM 4 | 31 JAN - 3 FEB 2020 Sir Frederick Ashton’s Les Rendezvous Paul Taylor’s Brandenburgs Dominic Walsh’s I Napoletani FSU Center for the Performing Arts Amy Wood & Richard House in Jerome Robbins’ In the Night | Photo Frank Atura

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IAIN WEBB D I R E C TO R

Dance, and ballet in particular, has always been such an important part of my life.

There is something so inspiring about the way ballet so perfectly combines artistry with athleticism, whilst evoking emotions ranging from joy to sorrow.

I say this, because as I sit here to write this letter and look at the astonishing ballets we will experience together, I see all I have described play out before me. Together we will discover an extraordinary range of ballets, from abstract works that will enrich and invigorate, through to story ballets that find new ways to communicate complex and important human emotions without uttering a single word.

Something else that will also play out throughout this coming Season is the complex and deep connections the works and our Company have to ballet’s rich and remarkable history. Through Margaret’s coaching, the dancers will discover Sir Kenneth MacMillan’s dark and dramatic Las Hermanas, learning from her as she imparts the knowledge from working directly with MacMillan on the Royal Ballet premiere. From Michael Trusnovec, our Company will learn Paul Taylor’s modern masterpiece Brandenburgs from one of Mr. Taylor’s most exceptional dancers. With David Bintley, we will have in our studio one of today’s greatest choreographers, imparting his invaluable experience and artistry. For Sir Frederick Ashton’s Romeo & Juliet, The Sarasota Ballet will have one of the great dancers of the 20th century, Peter Schaufuss, working on this incredible full-length classic with them. This is just a snapshot of the depth and passion that goes into each and every ballet on offer this Season and the reason we are able to achieve such artistic excellence on stage.

It is because of this that we have created a Company with a reputation for not only our vast repertoire of ballets, but also for our dedication and commitment to producing performances that have the same passion and authenticity on stage today as they had during their original performances. That achievement, however, isn’t only because of the work we do in the studio; it is also because of you. Our audience and patrons are truly remarkable – from your attendance, generosity, volunteer work, and pure devotion, we have created a Company of which we can all be proud. This is truly your Company, and it is an honor and a privilege to be here with you all.

It is no wonder that Ella Baff, former Director of the Jacob’s Pillow Dance Festival, said during our 2015 performances, that if all of America supported its ballet companies like Sarasota supports The Sarasota Ballet, ballet would be in truly safe hands.

It is on this note, of genuine thanks and appreciation, that I would like to welcome you to The Sarasota Ballet’s 2019 – 2020 Season. Together let us continue to reach for the highest of goals and experience the greatest of artistry.

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Each one of us has the potential to impact a person, a cause, a community. For nearly 40 years, the Community

90 Funded Performances 800 Unlocked Imaginations 1600 Standing Ovations

Foundation of Sarasota County has matched donors to causes, creating lasting impact.

You can be the one to make a difference.

cfsarasota.org

JOSEPH VOLPE

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

Extraordinary. That’s what came to mind at the end of last Season’s closing program of Giselle. The culmination of so much hard work and passion resulted in critically acclaimed performances to sold-out houses. Audience members were thrilled with what they saw and I was very proud of this Company and its dancers.

Last Season’s Giselle exemplifies exactly why The Sarasota Ballet has become such a unique and important institution in the ballet world. Alongside the artistry, athleticism, and technique of our dancers, The Sarasota Ballet is dedicated to ensuring that every single element of our productions receives equal focus and integrity. Whether this means working with historians and museums in order to find a ballet’s original designs, or flying in renowned artists to work with our dancers, we ensure that our audiences experience the exceptional onstage.

I continue to work as the Executive Director of The Sarasota Ballet alongside Director Iain Webb and Assistant Director Margaret Barbieri. Their commitment, artistic pedigree, and the scale of what they have accomplished thus far is impressive and remarkable. It is a real pleasure for me to be here with The Sarasota Ballet and the people that make all of this happen.

None of this is possible, however, without the support of our patrons and audience members. Your investment in us enables this Company to continue to grow in both scale and accomplishment in our mission to present thrilling dance performances and enrich our community. I firmly believe in what we’re doing matters to Sarasota and beyond.

I am so pleased to have Sara Robinson, our new Director of Development, with us this Season. Sara’s extensive background in both the not-for-profit and artistic world makes her not only a perfect addition to The Sarasota Ballet, but a truly welcome member of our team. Sara has already made such a positive impact on our organization and I know that, like me, you will find in Sara an individual whom you can trust to not only look after the future of The Sarasota Ballet, but also someone who can guide you in finding the right way for you to give and invest in this great Company.

I am personally grateful to everyone who makes this company the gem that it is. We wouldn’t be here without our generous Board, under the leadership of Dick Johnson. There’s a real sense of collaboration at all levels, which frankly, is in itself an affirmation of what we do. Thank you for being a part of The Sarasota Ballet, and I look forward to seeing you this Season in the theater.

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

I would like to welcome you to The Sarasota Ballet’s 2019 – 2020 Season.

Coincidentally, this Season will mark 50 years since I was first promoted to a Principal dancer with The Royal Ballet by Director John Field and Founder Dame Ninette de Valois.

Looking back on that time, I believed that nothing else in my career would compare to the feeling of performing a leading role on stage at the Royal Opera House, Covent Garden. And whilst I will always treasure those memories, and indeed the memories of working with some of the most renowned choreographers and dancers of the 20th century, I find myself today with the realization that being here, working with our dancers, staging and rehearsing these exceptional ballets, brings a greater joy and satisfaction than anything else I have done.

Watching our dancers grow from Season to Season, and giving them the opportunities to perform in some of the most remarkable pieces and by such an extraordinary range of choreographers, is truly the highlight of my career. Last Season, when staging Sir Peter Wright’s Giselle, I was thrilled to see not only how much our dancers had grown from the first time we performed Giselle, but also to see so many of our new company members rising to the challenge of Peter’s critically acclaimed production. I imagine, much like myself, the memories of working with Sir Peter in the studio will stay with the dancers for the rest of their lives.

I say this because I wanted to share with you, firstly, how truly and genuinely grateful I am to all our donors and audience members for continuing to support The Sarasota Ballet and allowing me to continue to work with this amazing Company.

Secondly, I wanted to share with you how excited I am for this coming Season!

Ranging from modern masterpieces like Paul Taylor’s Brandenburgs, beloved full-length classics such as Sir Frederick Ashton’s Romeo & Juliet, a revival/world premiere by the renowned David Bintley, contemporary works by choreographers Ricardo Graziano and Dominic Walsh, dark and enigmatic works like Sir Kenneth MacMillan’s Las Hermanas, through to vibrant and humorous ballets like George Balanchine’s Western Symphony. This Season is filled with works that will challenge, invigorate, and inspire our dancers and audience alike.

I sincerely look forward to sharing this, and more, with you this coming Season.

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RICHARD JOHNSON BOARD CHAIR

On behalf of the Board of Trustees, it is my great pleasure as Board Chair to welcome you to The Sarasota Ballet’s 29th Season.

Last Season included several landmark events, the pinnacle of which was the much anticipated revival of Sir Frederick Ashton’s Apparitions, a ballet not seen in over thirty years and a massive undertaking to bring back to the stage. It could only have been through Iain’s artistic dedication, Joseph’s bold direction, and Margaret’s extraordinary artistry that such a feat could have been accomplished. I know our audience and the Board of Trustees eagerly await the great strides our Company will make this upcoming Season.

Speaking of the future of dance, another of our proudest happenings last Season was the opening of our new Rosemary District school studio, establishing a beautiful new facility in which students of all ages can hone their craft. Paired with the addition of Dierdre Miles Burger as Assistant Education Director, the foundation for success for the Education Department has been firmly cemented. We look forward to continuing to watch the school expand and develop.

I am extremely proud of the magnificent progress the Company as a whole has made over the past Season; and I have similar pride in my fellow Board of Trustees members. Together, we work with passion and tenacity to support every element of The Sarasota Ballet and ensure that Iain and Joseph’s vision is made possible. I am greatly privileged to serve as Board Chair and I recognize that without your tremendous support, The Sarasota Ballet would not be the Company it is today.

I eagerly look forward to joining together with you to witness this astonishing Season. From classics like Romeo & Juliet to modern works like In a State of Weightlessness and The Spider’s Feast, this Season’s programs are certain to raise the Company to even greater heights.

I know Marsha would be pleased.

With great thanks,

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JEAN WEIDNER GOLDSTEIN FOUNDER & CHAIR EMERITUS

“...nothing less than the Sarasota Miracle.”

Gerald Dowler, one of the most respected dance critics in Great Britain, wrote this as he described The Sarasota Ballet’s trajectory over the past decade during his review of the Company’s revival of Sir Frederick Ashton’s Apparitions, which premiered last Season.

Indeed, under the leadership of Iain Webb, Joseph Volpe, and Margaret Barbieri, the Company has attained unprecedented heights of choreographic excellence and creative ingenuity. The passion for preserving the history and cultivating the future of ballet is evident throughout the organization. As the Founder of The Sarasota Ballet, I am intensely proud of the cultural impact the Company has made, not just in Sarasota, but throughout the world of dance.

When I saw what was planned for this coming Season, I was speechless. For a Company like ours to have these remarkable ballets in a single Season is virtually unheard of. As an audience member, to see works by choreographic giants, like Sir Frederick Ashton, Sir Kenneth MacMillan, George Balanchine, David Bintley, and Paul Taylor alongside choreographers of today like Ricardo Graziano and Dominic Walsh, is beyond exciting. However, to look at this Season through the eyes of a dancer must be truly amazing. To have the opportunity to perform these renowned works is incredible, and to have the honor to work with choreographers like David Bintley and learn firsthand from repetiteurs who danced these great works like Sandra Jennings and Margaret Barbieri, is something that very few dancers will have.

I am also thrilled at the strides we continue to make with Dance Education and Outreach, especially the continued success of our Dance – The Next Generation program and its immeasurable impact on at-risk youths. This ten-year, full-scholarship dance program provides a resource for children to build self-discipline through studying the art of dance, with the goal of helping them develop and succeed through high school and beyond. Without the generous support of our donors, we would not be able to offer the support provided through Dance – The Next Generation, and I am greatly appreciative of everything done to help the program thrive.

I invite you to join me in experiencing The Sarasota Ballet’s 29th Season for another beautiful year of dance magnificence.

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WELCOME TO THE DEVELOPMENT TEAM

SARA ROBINSON D I R E C TO R O F D E V E LO P M E N T Sara Robinson is delighted to join the administrative team at The Sarasota Ballet and to lead the development programs in the years ahead. Prior to joining The Sarasota Ballet, Robinson has enjoyed over two decades in arts administration and fundraising in the non-profit sector. She served as Chief Advancement Officer of Celebrity Series of Boston, where she led the planning and implementation of annual and capital fundraising programs, including the LIVE PERFORMANCE! Arts for All campaign for endowment and innovative programming.

Robinson has served in a leadership capacity for multiple capital campaigns including Palm Beach Day Academy’s Great Expectations campaign for facilities expansion and campus acquisition.

She was a member of the Board of Directors of Association of Fundraising Professionals (AFP) Massachusetts, and served on AFP’s Education Committee, MASSCreative Leadership Council, Tessitura TLCC Planning Committees, Greater Boston Chamber of Commerce, and Women in Development of Greater Boston.

Prior to joining Celebrity Series, Robinson served on the Board of Trustees of Palm Beach Day Academy and held positions at Palm Beach Day Academy, Worth Collection, Celebrity Series of Boston and the Museum of Fine Arts Boston. She is CFRE certified and holds a Certificate in Fundraising from Boston University. Robinson is a graduate of Pine Manor College in Chestnut Hill, Massachusetts.

srobinson@sarasotaballet.org | 941.225.6504

CHAD MORRISON LAUREN STROMAN SENIOR DEVELOPMENT OFFICER 941.359.0099 x 113 cmorrison@sarasotaballet.org

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DEVELOPMENT OFFICER EVENTS AND ENGAGEMENT MANAGER 941.359.0099 x 110 lstroman@sarasotaballet.org

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941.359.0099 x 119 ahernden@sarasotaballet.org

KATHERINE KNOWLES GRANTS MANAGER 941.359.0099 x 119 kknowles@sarasotaballet.org

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T H E S A R A S OTA B A L L E T ’ S

2007 - 2020 REPERTOIRE Sir Frederick Ashton Apparitions, Birthday Offering, La Chatte métamorphosée en femme, Dante Sonata, 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, Romeo & Juliet, 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 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, Valse-Fantaisie, Western Symphony, Who Cares?

David Bintley Four Scottish Dances, The Spider’s Feast, ‘Still Life’ at the Penguin Café Sir Matthew Bourne Boutique, The Infernal Galop

Robert de Warren The Nutcracker [production] Flemming Flindt The Lesson 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 Johan Kobborg Napoli Act III (after Bournonville), Salute Joe Layton The Grand Tour Sir Kenneth MacMillan Concerto, Elite Syncopations, Las Hermanas, Summer Pas de Deux Vaslav Nijinsky L’Après-midi d’un Faune (The Afternoon of a Faun)

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

Robert North Troy Game

Christopher Bruce Sergeant Early’s Dream

Renato Paroni Rococo Variations

James Buckley Anne Frank

Anna Pavlova The Dragonfly Solo

John Cranko Pineapple Poll

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

Peter Darrell Othello Agnes de Mille Rodeo

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Dame Ninette de Valois Checkmate, The Rake’s Progress

2019 – 2020 S E A S O N

Rudolf Nureyev Raymonda Act III

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T H E S A R A S OTA B A L L E T ’ S

2007 - 2020 REPERTOIRE Yuri Possokhov Firebird

RESIDENT CHOREOGRAPHER

André Prokovsky Anna Karenina, Vespri Jerome Robbins The Concert, Fancy Free, In the Night Galina Samsova Paquita [production] Paul Taylor Airs, Brandenburgs, 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

Ricardo Graziano Amorosa, 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 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 Pavel Fomin Hommage à Chopin, Paquita [production]

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

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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T H E S A R A S OTA B A L L E T ’ S

BOARD OF TRUSTEES

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RICHARD JOHNSON

PATRICIA GOLEMME

Board Chair

Board Vice Chair

PAT KENNY Treasurer

JONATHAN COLEMAN Secretary

MAUREEN STEINER Governance Officer

JEAN WEIDNER GOLDSTEIN Founder & Chair Emeritus

SYDNEY GOLDSTEIN Chair Emerita

HILLARY STEELE Honorary Chair Emerita

2019 – 2020 S E A S O N

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T H E S A R A S OTA B A L L E T ’ S

BOARD OF TRUSTEES

PEGGY ABT

ISABEL ANCHIN BECKER

PAUL CANTOR

LYNDA DOERY

SEAN KEENAN

RICHARD MARCH

FRANK MARTUCCI

TERESA MASTERSON

PETER MILLER

AUDREY ROBBINS

RICH SEGALL

MICKI SELLMAN

HILLARY STEELE

JEAN WEILLER

MARK FAMIGLIO Honorary Trustee

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DR. BART PRICE Honorary Trustee

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Standing O

Photo by Frank Atura

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Proud Sponsor of The Sarasota Ballet

THE FACTS

The Sarasota Ballet 157

Ballets and Divertissements

72

National And International Reviews

51

Different Choreographers

39

World Premieres

30

Thousand Audience Members A Year

13

American Company & American Premieres

9

National Tours

4

Education Programs serving over 3,000 students

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LUMINARIES CIRCLE $100, 000 +

JEAN WEIDNER GOLDSTEIN In Loving Memory of Alfred Goldstein

Program 2 - Symphonic Tales

SYDNEY GOLDSTEIN

PATRICIA GOLEMME AND TIMOTHY FULLUM

ERNIE KRETZMER In Loving Memory of Alisa Kretzmer

Program 7 - Beyond Words

Program 1 - Graziano, Retrospective

JEAN WEILLER

Program 4 - Redefined Movement

Program 3 - John Ringling’s Circus Nutcracker

OUR SPECIAL ANGEL

Program 6 - Romeo & Juliet

Gifts are current as of 1 October 2019

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BENEFACTORS CIRCLE $75, 000 - $99, 999

Paul Taylor

MARK FAMIGLIO

DAN AND DEBI ISAAC In Loving Memory of Marjorie S. Isaac

John Ringling’s Circus Nutcracker

Paul Taylor Dance Company

PAT AND ANN KENNY

PAUL AND SHARON STEINWACHS

Romeo & Juliet

Theme and Variations

MARCIA JEAN TAUB AND PETER SWAIN In Loving Memory of Ethel and Ron Taub The Spider’s Feast

Gifts are current as of 1 October 2019

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F I N D YOUR WILDE

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GUARDIANS CIRCLE $50, 000 - $74, 999

JULIE A. HARRIS In the Night

RICHARD JOHNSON In Loving Memory of Marsha Johnson Romeo & Juliet

MERCEDITA OCONNOR

BUD AND BET TY SHAPIRO

Romeo & Juliet

HILLARY STEELE Romeo & Juliet

Shostakovich Suite

In Loving Memory of ROBERT AND JEANNE ZABELLE

ANONYMOUS

John Ringling’s Circus Nutcracker

Las Hermanas

Gifts are current as of 1 October 2019

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

MARYANN ARMOUR

ISABEL ANCHIN BECKER

FRED AND LYNDA DOERY

ANDREW AND JUDITH ECONOMOS

SHERRY AND MICHAEL GUTHRIE

CHARLES L. HUISKING

BARBARA JACOB

ROBIN KLEIN-STRAUSS AND MICHAEL STRAUSS

HARRY LEOPOLD AND AUDREY ROBBINS

Dance - The Next Generation

Brandenburgs

Western Symphony

Romeo & Juliet

The Spider’s Feast

In a State of Weightlessness

Western Symphony

En Las Calles de Murcia

Brandenburgs

Gifts are current as of 1 October 2019

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CONNOISSEURS CIRCLE $25, 000 - $49, 999

FRANK AND KATHERINE MARTUCCI In a State of Weightlessness

CLAUDIA MCCORKLE AND BEAU The Spider’s Feast

PETER MILLER AND DR. MARTHA HARRISON In a State of Weightlessness

DR. BART PRICE I Napoletani

MICKI SELLMAN In Loving Memory of Jerry Sellman

NOEL AND TOBY SIEGEL In the Night

In a State of Weightlessness

JEAN VOLPE Dante Sonata

JARED WINTERS

John Ringling’s Circus Nutcracker

Gifts are current as of 1 October 2019

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Our showroom is open daily.

455 N. Lime Avenue Sarasota. FL 34237 941-227-7349 www.ParadiseKitchens.com

Family-Owned and Operated

AFICIONADOS CIRCLE $15, 000 - $24, 999

ELIZA P. CULVERHOUSE

RENEE HYMSON

RICHARD AND HELEN MARCH

JUDY RUDGES AND STAN KATZ

JANICE BINI AND DEAN SCARBOROUGH

RICH AND CLARE SEGALL

Margaret Barbieri Conservatory

Brandenburgs

The Spider’s Feast

Les Rendezvous

Shostakovich Suite

Theme and Variations

MAT T AND LISA WALSH Les Rendezvous

WILLIAM AND KAREN WAT T Romeo & Juliet

Gifts are current as of 1 October 2019

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

KEN AND PEGGY ABT

BET TY-JEAN AND DAVID BAVAR

Shostakovich Suite

Les Rendezvous

MURRAY BRING AND KAY DELANEY BRING

John Ringling’s Circus Nutcracker

JUDY CAHN In Loving Memory of Charles Cahn

JONATHAN STRICKLAND COLEMAN AND RICK KERBY Las Hermanas

FRANCES FERGUSSON AND JOHN BRADBURY Las Hermanas

Western Symphony

KAROL FOSS In the Night

WALDRON KRAEMER AND JOAN LOVELL Dance – The Next Generation

Gifts are current as of 1 October 2019

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PATRONS CIRCLE $10, 000 - $14, 999

TINA AND RICK LIEBERMAN Western Symphony

JOAN MATHEWS

DONNA MAY THAM In Loving Memory of Walter Maytham

Les Rendezvous

Las Hermanas

DOROTHY O’BRIEN AND RICHARD ANTOINE

PAIGE PETERSEN AND CURTIS JORDAN

Dante Sonata

ROSE MARIE PROIET TI Theme and Variations

I Napoletani

FLORI ROBERTS

Theme and Variations

PETE AND MAGGIE ROTH En Las Calles de Murcia

Gifts are current as of 1 October 2019

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

MARILYN AND STEVE ROTHSCHILD

GAIL AND SKIP SACK

TOM AND MAUREEN STEINER

CURT AND MELLISS SWENSON

ALISON GARDNER AND JAN SIROTA

Dante Sonata

I Napoletani

Romeo & Juliet

Dante Sonata

MASAYASU TAMATANI Romeo & Juliet

In a State of Weightlessness

THOMAS AND GWENDOLYN WATSON

ANONYMOUS

John Ringling’s Circus Nutcracker

In the Night

Gifts are current as of 1 October 2019

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

GEORGE ALLISON, ASID AND ALAN WATKINS, ASID

ROBERT AND SARA ARTHUR

SHARI AND STEVE ASHMAN

BOB AND GINGER CANNON BAILEY

MARGARET BARBIERI

RUTH AND DAVID BELILES

DONALD K. AND BARBARA H. BERNSTEIN FAMILY FOUNDATION

PAUL CANTOR

WILLIAM AND BONNIE CHAPMAN

ROBERT AND GAIL DAVIES

NEIL AND SANDRA DEFEO

BRUCE ENSINGER AND CLARK DENHAM

SHIRLEY FEIN

LAURIE FITCH

HERMAN AND SHARON FRANKEL

RONALD AND MICKI H. GAMER Gifts are current as of 1 October 2019

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DEVOTEES CIRCLE $5, 000 - $9, 999

ELLEN GOLDMAN

RENEE HAMAD

GERALD AND DEBORAH HAMBURG FAMILY FOUNDATION

JOANN HEISEN In Loving Memory of David Lenihan

DR. SIDNEY KATZ AND ELAINE KEATING

SEAN AND CARA KEENAN

ANNE KLISURICH

BILL AND ANNETTE LLOYD

PETER AND TERESA MASTERSON

RICHARD AND CORNELIA MATSON

BETTY MENELL

EUGENE NOBLE

MARILYNN PETRILLO In Loving Memory of Marsha Johnson

MARY JO RESTON

LOIS STULBERG

BETH UFFNER AND ROBERT GOLDFARB

Gifts are current as of 1 October 2019

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

ELEANOR WILSON WILLIAMS

RICHARD WIRES

SHEILA AND MERRILL WYNNE

FREMAJANE WOLFSON In Loving Memory of Blair Wolfson

SORA YELIN In Loving Memory of Cary F. Yelin

CHARLES O. WOOD, III AND MIRIAM M. WOOD FOUNDATION

ANONYMOUS

Gifts are current as of 1 October 2019

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A PERSONAL APPROACH TO WEALTH MANAGEMENT. Our experienced investment advisors are here to connect with you personally and create a plan that fits your unique financial journey.

John Leeming, CFP® Senior Vice President

Accessible Advisors Transparent Communication Dedication to Client Satisfaction

John Leeming, CFP®, and J.L. Bainbridge congratulate The Sarasota Ballet for another stellar season—its 29th!

YOUR BRIDGE TO FINANCIAL SECURITY 1582 Main Street, Sarasota, FL 34236 JLBainbridge.com It should neither be assumed that future results will be as profitable nor that a loss could not be incurred.

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

CONTRIBUTORS CIRCLE $3,000 - $4,999 Larry and Carol English Eleanor Faber Irene and Robert Fritsch Thomas I and Linda Z Klein Philanthropic Fund Susan Rawson Richard Kiegler and Ruthann Sturtevant-Kiegler Stu and Gini Peltz Dr. John & Rita Steele Intercoastal Medical Group Diran and Virginia Tashian Karen Vereb and Bud Blanton Edie Winston

SUPPORTERS CIRCLE $1,000 - $2,999 Stephen and Kay Aidlin Robert and Elaine Appel Carol Arscott Ruth Barker Everett and Shirley Behrendt Donna and Jon Boscia James W. Brooks Jody Brott Murray Brott Diana Cable Peter and Judy Carlin

|

$1 , 0 0 0 - $ 2 , 9 9 9 Shane and Monique Chalke Sanford Cloud, Jr. Natalie Cohen Diana Smith and Barry Cohen Mary and Peter Davis Sona and David Degann Beverly Dennis Patricia and John Dupps Annette and Edward Eliasberg Barbara and Bill Epperson Ronald and Sharon Erickson David and Ellen Faulk John and Marlene Forster Donald Fosselman Tim and Ellen Foster Paul Francis and Lolli Zarlin Michael and Jean Freed Wanda Garofalo Jennifer Gemmeke Roz Goldberg Janis Goodman Jane Gould and Stephen Fillo Ricardo Graziano Barbara and Norman Gross Barbara Hajjar, MD Beverly Harms John and Nancy Harris Marguerite Humphrey Jeanette Hyde Elizabeth Johnston

Anne E. Jones Thomas and Alison Jones Henry Kahwaty Richard Kemmler Carolyn Keystone and Jim Meekison Michael and Marcy Klein Victoria and Ken Kolbe Peter Kretzmer Lydia Landa Joan Langbord Dorothy Lawrence Ron Lee

Bart and Joan Levenson Ellen and David Levine Melvy Lewis Hal and Marlene Liberman Louis and Carolou Marquet Jean M. Martin Henry and Ellen Mason James and Elaine McCormack Mary McGrath Francis and Barbara Misantone Gloria Moss Patrick and Kim Nettles Lee and Jan Peakes Charles and Charlotte Perret Peter and Joanne Powers Megan Powers Richard Prescott Lisa and Larry Press Jana and Eric Putnal Harold Remark Pamelo Revels Sara and Benjamin Robinson Bob and Diane Roskamp Maureen and Edwin Schloss Gabriel and Valerie Schmergel Murray and Abby Sherry Jean Shorr and David Langhaug Lance Stubbs Ed Town and Steve Rubin Sallie Tyler Susan and Charles Wilson Anonymous Gifts are current as of 1 October 2019

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ADMIRERS $500 - $ 9 9 9

ADMIRERS $500 - $999 Caroline Amory and Marjorie Floyd Ron and Barbara Archbold Sumner and Irene Bagby Monica Barth Richard Belle Doug Benefield Charlotte Bimba Barbara Blumfield Marty and Barbara Bowling The Barbara and Gary Brandt Family Foundation James Joseph and Mary Braxton-Joseph Al and Martha Caesar Stephen and Mary Ellen Cease Kyuran Choe-Albano, MD Naomi and Saul Cohen Nadine Cohodas In Loving Memory of Sylvia Cohodas Jeanie Davis Syble Dolan-Di Girolamo Dominion Energy Charitable Foundation Rosalyn Ehrenpreis Douglas Endicott Douglas Engebretson Laura Feder Sandy Fink Linda Fiorelli Melinda and Hank Foster Diane Taylor Foxman Kevin Fulcher and Kim Deme-Fulcher Alfred and Anne Garrett

Faith and Michael Goldman Bonnie and David Goldmann Sue Marquis Gordon Teri A Hansen Allene Hazeltine Allen and Stephanie Hochfelder Dale Horwitz Ben and Gigi Huberman Jelks Family Foundation Leslie Jones Dr. Irvin and Deborah Kalb Terri and Michael Klauber Ronald and Joan Kluck Katherine Knowles Richard Lanamann Lenhart-Griffin Family Living Trust Sandra Levy Evie Lichter Sandra Long The Longboat Key Education Center, Inc. Gerda Maceikonis Margaret Maguire Albert and Marita Marsh Gary and Lynn Massel Gerry Mattson Ora and Joe Mendels John and Mary Ann Meyer Alan and Nancy Milbauer Michael and Michelle Morris Raymond and Maralyn Morrissey Paul and Karen Morton Virginia Page Joe and Janis Peixoto

Kimberly Pelyk Anne F. Roberts Susan L. Robinson Jack and Lenore Rubin Barbara Schwartz Morton and Bernice Skirboll Tre Michel and David Steiner Elizabeth Stewart Ai and Monica Streacker Martin Strobel Michael and Marsha Svirsky Norman and Hannah Weinberg Russell and Marilyn Weisenberg Deborah Lee Williams

Lynn and Alan Winslow Geri and Ron Yonover Anonymous

Gifts are current as of 1 October 2019

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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 serve all your banking and wealth advisory needs including trust and estate administration.

Cyndi Miller Vice President 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.

Kurt Thompson Senior Vice President Managing Director, The Family Office

1800 2nd Street, Suite 712 941 554-2605 ● 1stsource.com

ENTHUSIASTS $100 - $ 4 9 9

ENTHUSIASTS Priscilla Adams Gerald Addicott Aetna Foundation Edward Allen and Lorraine Gawronski Abigail Altier Roland and Betty Anthone Suzanne and Adam Armbruster Lynne Armington and Joseph Kerata Natalie Armstrong Colleen and Thomas Baldwin Maureen Ballinger Bob and Billie Baren Amy Barkin Gaele Barthold and Larry Weiss Linda Beavers Benjamin Moore & Company James and Lynnette Bennett Jonathan and Kristina Berg Ellen Berman Barbara Blackburn Jerry and Gay Bowles John Boyer Gay Boylston Edward and Sheila Braun Arline Breskin Mary Buckley Chris and Jon Butcher

Colette Canavan Barbara Casey Alexander and Irene Cass Patricia Chadwick Steven Chaffin and Penny Duan Victoria and Frank Chester Barbara Chin Agnes Coppin Aubert Coran Bill Cornelius Patricia Corson and Martin Goldstein

Sandra Cowing Renee Crames Robert and Linda Crootof Donna Cubit-Swoyer Harold and Jacqueline D’Alessio Linda E. Daniel Barbara Davey David and Francine Engle Bernice Davis Ann and Mark Davy Leila and James Day

Patricia Delvecchio Judith Diedrich Ric Doery Mary Donikian Michael Dukes and Belle Bulwinkle Carol and Martin Edelman David Eichlin and Bob Griffiths Norris and Denise Elswick Christina and Brian Endicott Robert and Anne Essner Graham Fell Beverly Fendrick Elaine and Robert Foster The Leda Freedman Fund Suzanne Freund Barbara Frey David and Carol Furer May and Martin Gavin Jerry Genova and Bob Evans Kara Glasgold Eugenia Glasser Rita and Paul Glosser Marilyn Goldman George Conzalez and Patrica Gondelman Barbara K. Grauer Debbie Griffin Martin and Sherrie Handelman Kathryn Harvey Hedge Team at Premier Sotheby’s International Realty

Gifts are current as of 1 October 2019

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Dr. E. Thomas Arne, Jr. DO, FACC

Concierge Medical Care • Internist • Board-Certified Cardiologist • Pharmacist • Preventive Care • Lab Work Performed In-Office • Hospital Services (941) 366-2194 1250 Tamiami Trl., Suite 401, Sarasota, FL www.gulfshorepc.com

Gulfshore Personalized Care

PATH FINANCIAL Registered Investment Advisor

is proud to sponsor The Sarasota Ballet and its important contribution to Sarasota’s cultural life

PATH FINANCIAL Professional portfolio management.

Disciplined investment process.

Strict risk controls.

RAUL ELIZALDE 1990 Main Street | Sarasota, FL 34236 | 941-350-7904 | www.pathfinancial.net

ENTHUSIASTS $100 - $ 4 9 9

ENTHUSIASTS CONTINUED Robert Hemingway Susan Herring Ruth Herrman James and Mary Heslin John and Nina Hockenberry Dr. Karen Holbrook Clark Hooper Oya Horiguchi Jean and Peter Huber Andrea Hunt Adelaide Hurst Hurwitz & Fine, P.C. Carol Hyde IBM Corporation - Matching Gifts Ann and Robert Jackson Molly Jackson Janet G. Jacobs Barbara Jacoby Millicent Jaekle Oliver and Suzanne Janney Susan Johnson Andrea Johnson Barbara and Russell Jones Frances Jones Marvin Kadesh Merrill Ann Kaegi 46

Judith Kahn Bruce Kalt Gerdi Kanzler Ronald Karns Arno Kaster Marilyn Katz

Dustin Keith Bruce and Barbara Keltz Julie Keverian Linda and Neil Kirschner Marlene Kitchell Ellen Klein Rosalyn and Paul Kline Robert Kloss Patricia Klugherz Philippe Koenig Beverly Koski Vivian Kouvant Maria Kowroski Jane Kritzer and Carol Carmenaro Carol Lackey Anita Lambert Gail Landry Michael Landy Larson Family Gift Trust Carolyn Legg Arthur and Marcella Levin Martin Lewis Cynthia Lichtenstein Andrea Lieberman Phyllis and Phil Lieberman Terrance and Elvira Lindemann John Lindsey Deb Lombard Barbara Fischer Long and James Long Daisy Lopez

Rise Snyder Loshaek Phyllis and Saul Lowitt Donald and Judith Markstein Andrew and Donna Mateer Gregg and Jill May Bert and Joy Mayerhofer Leanne McKaig Dianne McLoughlin Joan and Robert Meyer Jack Michelson Charles Michener Carla Miller Jean Miller Sharon Miller Sandra Miranda Carolyn Montgomery Phyllis Myers Jill Neilson Nicolla Newall Dr. Kenneth Newmark Jon and Susan Newsome Marilyn Nordby Richard and Lois Noyes Joseph Obermeyer Rosemary Oberndorf Kumiko Okita Mary Olha

Gifts are current as of 1 October 2019

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Is your Financial Advisor acting in your Best Interest?

Does your Financial Advisor…

Help you maximize your returns?

Have a staff that will cater to your needs?

Act in a professional manner at all times?

Provide insights into your personal finances?

Keep your interests in focus with unbiased advice?

Listen well to you and your concerns and is accessible?

Have a clear fee structure so you know what you are paying?

Focus on understanding you more than telling you what they know?

Have education with designations to demonstrate their personal commitment?

Help you stay in control of your emotions when markets and news is turbulent?

Have education in “Legacy Planning” (Wills and Trusts), how to care for loved ones?

Understand how taxes work and can assist your tax advisor to be more tax efficient?

Have education in and know how to handle Long Term Health Care and Care Planning?

Help you establish financial goals and then works hard to help you achieve those goals?

Peter G. Magnuson, ChFC®, CASL®, CLU®

Learn how you can have all of the above.

Securities and Advisory Services are offered through

Harbor Financial Services, LLC Member, FINRA/SIPC

941-923-7489 petermagnuson.com pmagnuson@harborfs.com

Artfully Crafted to Fit Your Budget VOTED BEST RUG STORE IN AMERICA

AmericasMart and the Oriental Rug Importers Association

2019 READERS’ CHOICE “BEST RUG STORE” Sarasota Herald Tribune - 26 Years Running

2019 BEST OF “BEST RUG STORE” Sarasota Magazine

SMALL BUSINESS OF THE YEAR Sarasota Chamber of Commerce

Rugs As Art ...And More!

6650 S. Tamiami Trail Sarasota, FL 34231 941.921.1900 rugsasart.com

3900 Clark Rd, Bldg. “R” Sarasota, FL 34233

ENTHUSIASTS $100 - $499

ENTHUSIASTS CONTINUED Catherine and Olaf Olsen Wiley Osborn Osprey Management Company LLC Lenee and Conrad Owens Jeannette Paladino Bertha Person George and Betty Jean Peters Sue and Jerry Peterson Sandra Poston Sheryl and Richard Pressler Judy Reich Jerome and Carole Reid Natasha Reisner Kate Relling-Garskof Ronald and Marci Rhodes William Richlin Jan Ringlever Marta T. Riordan Sandra Ripberger Margot and Jack Robinson Kim Rolland Karen Roosen Phillip Roseberry and Jennifer Meinert Joyce Rosenthal and Sumner Alpert Sam Ross Michelle Roy Dr. Jack and Nancy Rozance Saul and Joyce Rubenstein Sidney and Marcia Rutberg Lawrence Sage Dina and James Santoro Paul and Anita Sarno Beverly Saxonberg Phyllis Schaen Barbara Schott Felice Schulaner Anne and Alexander Scott Eda Scott Barbara P. Segal John and Carole Segal Janice Seidenberg Susan Serling and David Kessler Elizabeth Shalett Sue Shepard Jane Sheridan Jean Simon Ira and Carole Singer Sarah Skebba and Michael Bernstein Ann Spaulding

Wesley Spencer and Pauline Wood Helen and Jerry Spindler Maureen St Onge Carolyne Starek Rochelle and George Stassa Barbara Staton Joan and Jim Stewart Phyllis Straight Christopher Sullivan Peggy Sweeney Joan Tatum Jacqueline and John Thompson Carol Tillotson Marianne and Niels Trulson Dr. Martin Tucker Jocelyn Udell Walter and Carole Ulin USF Sarasota Manatee Sandra Van Langen Roger Vincent

Michael Vlaisavljevich Anita Volpe Bernard and Lauren Walsh Susan Walters Judith Waxberg Oris Webb Edris and David Weis David Welle and Rosemary Reinhardt Stanley Werner Kim Wheeler Laurie Wiesemann Florence Wildner Peggy and Bennett Williams Elizabeth Wolfe Jane Woods Earl Wright Betty York Judy Zuckerberg and George Kole Anonymous Gifts are current as of 1 October 2019

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IN MEMORIAM

T H E F O L LO W I N G M E M B E R S O F O U R S A R A S OTA B A L L E T C O M M U N I T Y H AV E PA S S E D AWAY I N T H E L A S T Y E A R . W E C E L E B R AT E T H E I R L I V E S A N D H O N O R T H E M F O R T H E I R G E N E R O S I T Y, W H I C H W I L L H AV E A L A S T I N G I M PA C T O N T H E B A L L E T F O R Y E A R S TO C O M E .

GERRI AARON

ANN FENTON

JEROME GOLDSTEIN

THOMAS NADOLSKI

BETTY SCHOENBAUM

SALLY YANOWITZ

SHIRLEY GILBERT

JORGEN GRAAUGARD

JOHN PASCALE

MARSHA ROTH

JEAN E. LANGDON GERI SEROT

The memorial page above is presented here to the best of our knowledge. We truly apologize if we have not recognized members of our Ballet community that have passed way recently. Please contact Chad Morrison, Senior Development Officer, so that we may update our archives.

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ART TO WALK ON

CARAGIULOS

Fine Oriental Carpets www.arttowalkon.com

Italian American Restaurant Downtown’s Favorite Since 1989

BOOKSTORE1SARASOTA

CHARLOTTE’S GRACE

Sarasota’s Independent Bookstore www.sarasotabooks.com

Fine Linens & Luxe Home Accents www.charlottes-grace.com

BURKE ANTIQUES

CHURCH OF THE REDEEMER

American European Asian Primitive Arts www.burkeantiques.net

A Traditional Episcopal Parish www.redeemersarasota.org

FROM THE RITZ TO SELBY GARDENS HISTORIC PALM AVENUE BEST WALK IN TOWN ART WALK EVERY FIRST FRIDAY 6 - 9

CREWS BANK & TRUST

LEMON TREE GALLERY

A Lifetime of Trust www.crews.bank

Largest art gallery on the Gulf coast www.ArtAvenueFlorida.com

DABBERT GALLERY

MEG KRAKOWIAK

Original Fine Art www.dabbertgallery.com

Contemporary Art Gallery & Studio www.megkrakowiakstudios.com

FLORIDA STUDIO THEATRE

NICKY’S RESTAURANT

Sarasota’s Contemporary Theatre www.floridastudiotheatre.org

European cuisine breakfast-lunch-dinner 941-330-1727

CORPORATE SPONSORS $20,000

$12,500

$7,500

$5,000

Gifts are current as of 1 October 2019

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CORPORATE SPONSORS $2,000+

IN KIND

Gifts are current as of 1 October 2019

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FOUNDATIONS, GRANTS, AND PUBLIC SUPPORT $100,000 THE MURIEL O’NEIL FUND FOR THE PERFORMING ARTS

AT THE COMMUNITY FOUNDATION OF SARASOTA COUNTY

$50,000+

ALFRED & ANN GOLDSTEIN FOUNDATION

JEAN ALLENBY GOLDSTEIN TOURING FUND

$45,000

FLORIDA DEPARTMENT OF STATE

Gifts are current as of 1 October 2019

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FOUNDATIONS, GRANTS, AND PUBLIC SUPPORT $35,000

$25,000 LELA D. JACKSON

FOUNDATION FOR THE ARTS

$15,000+ BANK OF AMERICA CLIENT FOUNDATION

CHARLES HENRY LEACH II FUND DUQUESNE UNIVERSITY

Gifts are current as of 1 October 2019

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FOUNDATIONS, GRANTS, AND PUBLIC SUPPORT $10,000 THE KORS LE PERE FOUNDATION ROCKEFELLER TRUST COMPANY

$5,000+ CORDELIA LEE BEATTIE FOUNDATION

Gifts are current as of 1 October 2019

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FOUNDATIONS, GRANTS, AND PUBLIC SUPPORT $2,500 GILBERT WATERS

ANNETTE J. HAGENS

CHARITABLE FUND I

MEMORIAL FOUNDATION

WOMEN’S OUTREACH MINISTRY CHURCH OF THE REDEEMER

$1,000+ BERNARD LEWIS CHARITABLE FOUNDATION

FAY A. SCHWEIM MEMORIAL CHILDREN’S DANCE FUND

GULFCOAST ITALIAN CULTURE SOCIETY

IN KIND

Gifts are current as of 1 October 2019

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MEDIA SPONSORS SEASON SPONSORS

SPONSORS

DANCE MEDIA Gifts are current as of 1 October 2019

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SARASOTA MAGAZINE PROUDLY SUPPORTS

THE SARASOTA BALLET

21 STATE AND NATIONAL

AWARDS 2 0 1 9

WINNERS OF 21 STATE AND NATIONAL AWARDS FOR WRITING, DESIGN AND PHOTOGRAPHY IN 2019. LOVED BY OUR READERS AND RECOGNIZED BY OUR PEERS. SARASOTA MAGAZINE CELEBRATES 40 YEARS OF EXCELLENCE IN 2019.

THE LEGACY SOCIETY The Sarasota Ballet believes in the importance of Legacy. Having been entrusted to safeguard the Legacies of the most influential figures in ballet – Dame Margot Fonteyn, Rudolf Nureyev, and Sir Frederick Ashton - we understand how to care for your Legacy when you include The Sarasota Ballet in your planned giving.

The members of our Legacy Society have created a lasting impact on future generations. Their gifts support our professional Company, Dance – The Next Generation, Live Music, Touring, our Education programs, and much more. Whether we’re reviving nearly lost works or transporting at-risk students to our outreach programs, we’re proud to protect your legacy within The Sarasota Ballet.

For more information, please contact Chad Morrison at 941.225.6513.

“THE TRUE MEANING OF LIFE IS TO PLANT TREES UNDER WHOSE SHADE YOU DO NOT EXPECT TO SIT.” - NELSON HENDERSON

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THE LEGACY SOCIETY

George Allison and Alan Watkins

Jerry and Gay Bowles

Murray Bring and Kay Delaney Bring

Donald Britt

Ann Burroughs

Judy Cahn

Lynn Chancer

Jonathan Strickland Coleman

Edward Cooke

Douglas Endicott

Ann Fenton

Ellen Goldman

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

Rose Marie Proietti

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

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

In Loving Memory of Jorgen Graugaard

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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 Lauren Stroman, Development Officer at 941.225.6510.

ONLINE To make a donation online, visit: https://www.sarasotaballet.org/sarasota-ballet-giving

BY MAIL Send a check made payable to The Sarasota Ballet: The Sarasota Ballet Attention: Lauren Stroman 5555 North Tamiami Trail Sarasota, FL 34243

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

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

PLEASE NOTE: 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 Lauren Stroman, Development Officer, at lstroman@sarasotaballet.org or 941.225.6510.

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WAYS TO GIVE PHILANTHROPY

GENEROSIT Y

A LT R U I S M

INVEST IN SOMETHING SPECIAL

PLANNED GIVING 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. To discuss Planned Giving, contact Chad Morrison, Senior Development Officer, at cmorrison@sarasotaballet.org or 941.225.6513.

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.

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.

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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PATRON BENEFITS 2019 - 2020 S E A S O N

LUMINARIES CIRCLE $100,000 and above All benefits listed below, plus: • Production Sponsor Recognition BENEFACTORS CIRCLE $75,000 - $99,999 All benefits listed below, plus: • Dinner at the Home of Director, Iain Webb and

Assistant Director, Margaret Barbieri GUARDIANS CIRCLE $50,000 - $74,999 All benefits listed below, plus: • Exclusive Inside The Studio with Director and

Studio Company CONNOISSEURS CIRCLE $25,000 - $49,999 All benefits listed below, plus: • Invitation to Cocktails with the Chairman of

the Board of Trustees AFICIONADOS CIRCLE $15,000 - $24,999 All benefits listed below, plus: • Invitation to Back-to-Season Brunch with

Company Meet and Greet PATRONS CIRCLE $10,000 - $14,999 All benefits listed below, plus: • Ballet Co-Sponsorship Recognition • Studio Dress Rehearsal for Sponsored Ballet • Invitation to Annual Dinner of Excellence DEVOTEES CIRCLE $5,000 - $9,999 All benefits listed below, plus: • Photo in Season Program Book • Signed Season Program Book • Invitation to After-Performance Parties with

Dancers and Staff CONTRIBUTORS CIRCLE $3,000 - $4,999 All benefits listed below, plus: • Invitation to Cocktail Reception with

Company Meet and Greet SUPPORTERS CIRCLE $1,000 - $2,999 All benefits listed below, plus: • Concierge Ticket Service • 30th Anniversary Season Announcement Event ADMIRERS $500 - $999 All benefits listed below, plus: • Listing in Performance Program Books ENTHUSIASTS $100 - $499 • •

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Listing in Season Program Book Listing in Annual Magazine

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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 157 ballets and divertissements by the end of the 2019 - 2020 Season, including 39 world premieres and 13 American Company and 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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Susan T. Wilson

SusanVice T. President Wilson Senior Susan T. Wilson Senior Vice President Financial Advisor Senior Vice President Advisor 2Financial North Tamiami Trail Financial Advisor Sarasota, FL, 34236 Trail NorthTamiami Tamiami 22North Trail +1 941 364-7476 Sarasota,FL, FL,34236 34236 Sarasota, susan.t.wilson@morganstanley.com +1941 941364-7476 364-7476 +1 NMLS# 1255614

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BIOGRAPHIES

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

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

He conceived and developed “Met Titles,” an innovative titling system providing multilingual translations of the operas on the backs of each seat, visible only to the individual audience member who wished to utilize them, and initiated the development of Tessitura, a management software program for targeted marketing and fundraising appeals, which is now licensed to more than 400 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 bestknown 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 four more complete 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, Somewhere, and Amorosa. In total, Graziano has choreographed eight, one-act ballets and three divertissements. Graziano is also a Principal Dancer with The Sarasota Ballet.

PAVEL FOMIN |

Ballet Master

Pavel Fomin was born in 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 most of the Russian 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 |

Assistant Ballet Mistress

While continuing to dance as a Principal with the Company, at the start of the 2018 - 2019 Season Kate Honea took on the role of Assistant Ballet Mistress under the guidance of Margaret Barbieri. As a student, Honea started her training at The Sarasota Ballet School 24 years ago. She has danced with the Company for 18 years, taught in The Sarasota Ballet School for 14 years, and choreographed 4 works for the company and several Endof-Year performances for the School. As Honea expands her experience from the stage to assisting 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 for which The Sarasota Ballet is known.

OCTAVIO MARTIN |

Assistant Ballet Master

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. As Assistant Ballet Master with the Company, Martin works closely with Director Iain Webb and Assistant Director Margaret Barbieri in working and rehearsing with the Company, and in addition teaches at The Sarasota Ballet School and The Margaret Barbieri Conservatory.

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PRINCIPALS

T H E S A R A S OTA B A L L E T CO M PA N Y M E M B E R S George Balanchine’s Western Symphony

DANIELLE BROWN Joined The Sarasota Ballet in 2007 Promoted to Soloist in 2009 and Principal in 2010 Lead and Featured Roles include: Ashton’s Apparitions, Birthday Offering, Enigma Variations, La Fille mal gardée, Jazz Calendar, Marguerite and Armand, Méditation from Thaïs, Scènes de ballet, Symphonic Variations, Valses nobles et sentimentales, Varii Capricci, The Walk to the Paradise Garden; Balanchine’s Diamonds, Emeralds, The Four Temperaments, Prodigal Son, Serenade, Stars and Stripes; de Valois’ Checkmate, The Rake’s Progress; Fokine’s Les Sylphides; Graziano’s Amorosa, 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 Giselle, Summertide.

Sir Frederick Ashton’s Symphonic Variations

RICARDO GRAZIANO Joined The Sarasota Ballet in 2010 Promoted to Principal in 2011 Lead and Featured Roles include: Ashton’s Birthday Offering, Enigma Variations, La Fille mal gardée, Illuminations, Jazz Calendar, Marguerite and Armand, Monotones II, Symphonic Variations, Varii Capricci, The Walk to the Paradise Garden; Balanchine’s Diamonds, Emeralds, Prodigal Son, Stars and Stripes, 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...; Graham’s Appalachian Spring; Nijinsky’s L’Après-midi d’un Faune; Nureyev’s Raymonda Act III; Robbins’ The Concert; Samsova’s Paquita; Tharp’s In the Upper Room, Nine Sinatra Songs; Taylor’s Airs; Tuckett’s Changing Light, Lux Aeterna, The Secret Garden; Tudor’s Lilac Garden; Wheeldon’s The American, There Where She Loved; Wright’s Giselle, Summertide.

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PRINCIPALS

T H E S A R A S OTA B A L L E T CO M PA N Y M E M B E R S George Balanchine’s Theme and Variations

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 chatte métamorphosée en femme, La Fille mal gardée, Jazz Calendar, Marguerite and Armand, Les Patineurs, Les Rendezvous, Rhapsody, The Two Pigeons; Balanchine’s Apollo, The Four Temperaments, Rubies, Serenade, Stars and Stripes, 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 Petrushka, Les Sylphides; Graham’s Appalachian Spring; Graziano’s Amorosa; MacMillan’s Elite Syncopations; Prokovsky’s Anna Karenina; Robbins’ The Concert, Fancy Free; Samsova’s Paquita; Taylor’s Airs, Company B; Tuckett’s Changing Light; Tudor’s Gala Performance; Wheeldon’s The American, There Where She Loved; Wright’s Summertide.

Sir Peter Wright’s Giselle

VICTORIA HULLAND Joined The Sarasota Ballet in 2007 Promoted to Coryphée in 2008 and Principal in 2009 Lead and Featured Roles include: Ashton’s Apparitions, Birthday Offering, The Dream, Enigma Variations, Marguerite and Armand, Monotones II, Les Patineurs, Symphonic Variations, The Two Pigeons, Varii Capricci, A Wedding Bouquet; Balanchine’s Apollo, Emeralds, The Four Temperaments, Rubies, Serenade, Stars and Stripes; Bourne’s Boutique; de Valois’ The Rake’s Progress; Gomes’ Dear Life...; Fokine’s Petrushka, Les Sylphides; Graham’s Appalachian Spring; Graziano’s Amorosa, Symphony of Sorrows; Layton’s The Grand Tour; MacMillan’s Concerto; Pavlova’s The Dragonfly solo; Nureyev’s Raymonda Act III; Robbins’ The Concert; 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 Sir Frederick Ashton’s Rhapsody

KATELYN MAY Joined The Sarasota Ballet in 2017 Promoted to Principal in 2018 Lead and Featured Roles include: Ashton’s The Dream, Enigma Variations, Meditation from Thaïs, Monotones I, Les Patineurs, Rhapsody; Balanchine’s Diamonds, Stars and Stripes, Theme and Variations; Bintley’s Four Scottish Dances, ‘Still Life’ at the Penguin Café; Bournonville’s The Kermesse in Bruges Act I Pas de Deux; Gomes’ Dear Life...; Graham’s Appalachian Spring; Graziano’s Amorosa, Symphony of Sorrows, Valsinhas; Hart’s John Ringling’s Circus Nutcracker; Petipa’s Le Corsaire pas de deux; Robbins’ The Concert; Samsova’s Paquita; Taylor’s Airs; Tuckett’s The Secret Garden; Tudor’s The Leaves are Fading; Wheeldon’s There Where She Loved; Wright’s Giselle.

George Balanchine’s Diamonds

E L L E N OV E R S T R E E T Joined The Sarasota Ballet in 2012 Promoted to Junior Principal in 2015 and Principal in 2016 Lead and Featured Roles include: Ashton’s Apparitions, Birthday Offering, Enigma Variations, Illuminations, Jazz Calendar, Scènes de ballet, Sinfonietta, Symphonic Variations, A Wedding Bouquet; Balanchine’s Apollo, Diamonds, Emeralds, The Four Temperaments, Serenade; Bintley’s Four Scottish Dances; de Mille’s Rodeo; Fokine’s Les Sylphides; Graham’s Appalachian Spring; Graziano’s Amorosa, En Las Calles de Murcia, In a State of Weightlessness, Shostakovich Suite, Symphony of Sorrows; MacMillan’s Concerto; Nijinsky’s L’Après-midi d’un Faune; Robbins’ The Concert, Fancy Free; Tuckett’s Changing Light, Lux Aeterna, The Secret Garden; Tudor’s Continuo, Lilac Garden; Walsh’s Wolfgang for Webb; 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 Dream

RICARDO RHODES Joined The Sarasota Ballet in 2007 Promoted to Soloist in 2010 and Principal in 2012 Lead and Featured Roles include: Ashton’s Birthday Offering, The Dream, La Fille mal gardée, Méditation from Thaïs, Monotones II, Les Rendezvous, Rhapsody, Scènes de ballet, Sinfonietta, Symphonic Variations; Balanchine’s Apollo, Diamonds, Emeralds, The Four Temperaments, Rubies, Serenade, Stars and Stripes, 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; Graziano’s In a State of Weightlessness, Symphony of Sorrows; Nijinsky’s L’Après-midi d’un Faune; Robbins’ The Concert, Fancy Free; Tuckett’s Changing Light; Wheeldon’s The American, There Where She Loved; Wright’s Giselle, Summertide.

George Balanchine’s Theme and Variations

LUKE SCHAUFUSS Joined The Sarasota Ballet in 2019 Previous Companies Royal Danish Ballet, Birmingham Royal Ballet, & Scottish Ballet Lead and Featured Roles with other companies include: Ashton’s Dante Sonata, The Dream, Enigma Variations, La Fille mal gardée, Les Rendezvous, Romeo & Juliet; Bintley’s Flowers of the Forest, King Dances, Prince of the Pagodas; Bourne’s Highland Fling; Bournonville’s Flower Festival, Folk Tale, Kermesse in Bruges, Napoli, La Sylphide, La Ventana; Cranko’s Card Game; Darrel’s The Nutcracker; Hampson’s Rite of Spring; Ivgi & Greben’s Each Other; Lopez’s A Streetcar Named Desire; MacMillan’s Elite Syncopations; Neumeier’s A Midsummer Night’s Dream, Lady of the Camellias; Oliveira’s When it Happens; Petipa’s The Sleeping Beauty; Whitley’s Kin; Wright’s The Nutcracker, Swan Lake.

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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

J U N I O R P R I N C I PA L

Sir Peter Wright’s Giselle

AMY WOOD Joined The Sarasota Ballet in 2007 Promoted to Junior Principal in 2015 Featured Roles include: Ashton’s Apparitions, Birthday Offering, The Dream, Enigma Variations, Illuminations, Jazz Calendar, Monotones II, Les Patineurs, A Wedding Bouquet; Balanchine’s Apollo, Emeralds, Prodigal Son, Rubies, Serenade, Who Cares?; Bintley’s Four Scottish Dances, ‘Still Life’ at the Penguin Café; Bourne’s Infernal Galop; Cranko’s Pineapple Poll; Fokine’s Les Sylphides; Graham’s Appalachian Spring; Graziano’s Amorosa, En Las Calles de Murcia, In a State of Weightlessness, Symphony of Sorrows; Nijinsky’s L’Aprèsmidi d’un Faune; Nureyev’s Raymonda Act III; Taylor’s Airs; Tuckett’s Lux Aeterna; Tudor’s Continuo, Gala Performance, The Leaves are Fading; Wheeldon’s The American, There Where She Loved; Wright’s Giselle.

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

Jerome Robbins’ The Concert

RICKI BERTONI Joined The Sarasota Ballet in 2007 Promoted to Character Principal in 2014 Lead and Featured Roles include: Ashton’s The Dream, Enigma Variations, Façade, La Fille mal gardée, Jazz Calendar, A Wedding Bouquet; Balanchine’s Bugaku, Diamonds, Rubies, Prodigal Son, Stars and Stripes, 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; Graham’s Appalachian Spring; Graziano’s Amorosa, Before Night Falls, En Las Calles de Murcia, Symphony of Sorrows; Layton’s The Grand Tour; North’s Troy Game; Robbins’ The Concert; Taylor’s Company B; Tharp’s In The Upper Room, Nine Sinatra Songs; Tuckett’s Changing Light, The Secret Garden; Walsh’s I Napoletani; Wheeldon’s The American; Wright’s Giselle.

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SOLOISTS

F I R S T S O LO I S T

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

ELIZABETH SYKES

SAMANTHA BENOIT

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

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

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

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 Sarasota Ballet include: Ashton’s Apparitions, Les Patineurs; Balanchine’s Diamonds, Stars and Stripes; Bintley’s Four Scottish Dances; Graziano’s Amorosa; Wright’s Giselle.

Featured Roles with The Australian Ballet included: Ashton’s Monotones II; Balanchine’s The Four Temperaments; Bintley’s Faster; Kylián’s Petite Mort; Tharp’s In the Upper Room.

House has also choreographed for The Australian Ballet.

Featured Roles include: Ashton’s Façade, Monotones I, The Two Pigeons, A Wedding Bouquet; Balanchine’s Bugaku, Emeralds, Serenade, Theme and Variations, Who Cares?; Bintley’s Four Scottish Dances; Graham’s Appalachian Spring; Graziano’s Before Night Falls, In a State of Weightlessness; MacMillan’s Concerto; Samsova’s Paquita; Tuckett’s The Secret Garden; Tudor’s Continuo, The Leaves are Fading; Wheeldon’s The American, There Where She Loved; 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

ASIA BUI

MARIJANA DOMINIS

Joined The Sarasota Ballet in 2015 Promoted to Coryphée in 2019

Joined The Sarasota Ballet in 2019 Previous Company | Finnish National Ballet

Featured Roles include: Ashton’s Les Patineurs, Rhapsody, Varii Capricci Balanchine’s Stars and Stripes Bintley’s Four Scottish Dances, ‘Still Life’ at the Penguin Café Graham’s Appalachian Spring Hart’s John Ringling’s Circus Nutcracker Tudor’s The Leaves are Fading Wheeldon’s There Where She Loved

IVAN DUARTE

DANIEL PRATT

Joined The Sarasota Ballet in 2016 Promoted to Coryphée in 2018

Joined The Sarasota Ballet in 2012 Promoted to Coryphée in 2019

Featured Roles include: Ashton’s The Dream, Les Patineurs Balanchine’s Stars and Stripes Gomes’ Dear Life...

Graziano’s Valsinhas Tuckett’s Changing Light, The Secret Garden Vainonen’s Flames of Paris Wheeldon’s There Where She Loved

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Featured Roles with the Finnish National Ballet: Bintley’s Cinderella Caniparoli’s Lady of the Camellias Elo’s A Midsummer Night’s Dream Goecke’s Lonesome George Lifar’s Suite en blanc

2019 – 2020 S E A S O N

Featured Roles include: Ashton’s Enigma Variations, Monotones II Balanchine’s Emeralds, The Four Temperaments Graham’s Appalachian Spring Graziano’s Symphony of Sorrows North’s Troy Game Tuckett’s Lux Aeterna, The Secret Garden Wright’s Giselle

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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

FILIPPO VALMORBIDA

CHRISTINE WINDSOR

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

Joined The Sarasota Ballet in 2007 Promoted to Coryphée in 2010

Featured Roles include: Ashton’s Enigma Variations, Rhapsody, Varii Capricci Balanchine’s Bugaku, Stars and Stripes Bintley’s Four Scottish Dances, ‘Still Life’ at the Penguin Café Hart’s John Ringling’s Circus Nutcracker North’s Troy Game Tudor’s The Leaves are Fading Wheeldon’s There Where She Loved

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Featured Roles include: Ashton’s Les Patineurs, A Wedding Bouquet de Valois’ The Rake’s Progress Graziano’s Symphony of Sorrows Layton’s The Grand Tour Tudor’s The Leaves are Fading Walsh’s I Napoletani, Wolfgang for Webb Wheeldon’s There Where She Loved

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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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KATHARINE CLARK

MIHAI COSTACHE

RACHEL COSTIN

Joined The Sarasota Ballet in 2019 Previous Company | Kansas City Ballet II

Joined The Sarasota Ballet in 2019 Previous Company | Los Angeles Ballet

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

LORENZO DI STASIO

HARVEY EVANS

CLAIRE GLAVIN

Joined The Sarasota Ballet in 2019 Trained at | Vienna State Opera Ballet Academy

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

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

MIKAYLA HUTTON

ETHAN KIMBRELL

JANAE KORTE

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

Joined The Sarasota Ballet in 2019 Previous Company | Cincinnati Ballet Second Company

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

2019 – 2020 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

YURI MARQUES

YUKI NONAKA

LAUREN OSTRANDER

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

Joined The Sarasota Ballet in 2018 Trained at | The Sarasota Ballet Studio Company (18/19) & English National Ballet School

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

ANNA PELLEGRINO

IVAN SPITALE

LENIN VALLADARES

Joined The Sarasota Ballet in 2018 Trained at | Eastern Connecticut Ballet

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

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

JULIANO WEBER

KELLY WILLIAMS

PAIGE YOUNG

Joined The Sarasota Ballet in 2019 Previous Company | Intuição Companhia de Ballet

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

Joined The Sarasota Ballet in 2018 Trained at | School of Pennsylvania Ballet

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APPRENTICE PROGRAM

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ISAAC HOLLIS

DOMINIQUE JENKINS

GABRIEL LORENA

Trained at | The Sarasota Ballet Studio Company (18/19) & Fort Wayne Ballet

Trained at | The Sarasota Ballet Studio Company (18/19) & Richmond Ballet

Trained at | Miami City Ballet School

ANDREA MARCELLETTI

EMELIA PERKINS

BAPTISTE ROBERT

Trained at | English National Ballet School

Trained at | The Sarasota Ballet Studio Company (18/19) & Kansas City Ballet

Trained at | The Royal Ballet School

TZU-TING SU

GILLIAN WOREK

Second Season Apprentice Trained at | New Zealand School of Dance

Second Season Apprentice Trained at | Indiana University

2019 – 2020 S E A S O N

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A state of the art outpatient physical therapy clinic, offering top of the line rehabilitation services.

Specialties Include: Orthopedic Injuries

436 South Tamiami Trail Osprey, Florida 34229

Sports Injuries

941.375.8624

Balance

BodyWiseSarasota.com

Post-Operative Rehabilitation

info@bodywisesarasota.com

Hands-On Health

STUDIO COMPANY

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MATTISON BEDINGHAUS

KENNEDY FALYN CASSADA

CHARLES CLINTON

Second Season Studio Company Trained at | Margaret Barbieri Conservatory

Trained at | The JKO School at American Ballet Theatre

Trained at | Ellison Ballet Professional Training Program

AGUSTIN DE SOUSA

AMANDA FIELDS

BLAKE LANESSKOG

Second Season Studio Company Trained at | Cary Ballet Conservatory

Trained at | The JKO School at American Ballet Theatre

Trained at | Boston Ballet School Trainee Program

OLIVIA MCALPINE

REN MORIOKA

YUKI NISHIZAWA

Second Season Studio Company Trained at | Canada’s National Ballet School

Trained at | The Royal Ballet School

Second Season Studio Company Trained at | San Francisco Ballet School

2019 – 2020 S E A S O N

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STUDIO COMPANY

SAMUEL PARHAM

LILIAN SCHWENDENER

JOEL SELVA

Trained at | Elmhurst Ballet School

Trained at | School of American Ballet

Trained at | Washington Ballet Trainee Program

SAMANTHA TEVES

MELANIE WELLS

Previous Company | American Ballet Theater Studio Company

Trained at | Ellison Ballet Professional Training Program

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 ARTIST 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 Symphonic Tales and Redefined Movement

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, and 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.

Sir Frederick Ashton’s Apparitions

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. Gomes is a Principal Guest Artist with The Sarasota Ballet and Semperoper Ballett Dresden, and his recent documentary Anatomy of a Male Ballet Dancer is available on multiple digital platforms.

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DR. JARED A. WINTERS

Chiropractic Physician

FLORIDA CHIROPRACTIC & REHABILITATION CLINICS 1918 Robinhood Street Sarasota, FL 34231 941-955-3272

Thank You Sarasota Ballet

For your partnership to provide a special dance class for people with Parkinson's and their care partners, “Dancing Through Parkinson’s.”

Visit NeuroChallenge.org for more information.

Improving the quality of life of people with Parkinson’s and their caregivers

Neuro Challenge Foundation for Parkinson's provides over 45 monthly educational, therapeutic and support programs, care advising, and community resource referrals in Charlotte, Manatee, Marion, Highlands, Pinellas and Sarasota Counties.

All services and programs provided at no charge.

Connect with a community of caring and support at (941) 926-6413 or NeuroChallenge.org SAVE THE DATE: THE PARKINSON’S EXPO Saturday, February 29, 2020 • Bradenton Area Convention Center, Palmetto, FL

Thank You Sarasota!

We are grateful to all our customers for allowing us to serve them over the past five decades. It is truly an honor to reach this milestone, and we couldn’t have done it without you!

Visit Our Market in Historic Southside Village 1924 South Osprey Avenue ∙ Sarasota ∙ (941) 955-9856 ∙ MortonsMarket.com

A Sarasota tradition since 1969

T H E S A R A S OTA B A L L E T

2019 - 2020 S E A S O N

BRANDENBURGS I N A S TAT E O F W E I G H T L E S S N E S S LES RENDEZVOUS

D A N T E S O N ATA IN THE NIGHT

EN LAS CALLES DE MURCIA

J O H N R I N G L I N G ' S C I R C U S N U TC R A C K E R

PAU L TAY LO R D A N C E C O M PA N Y

THE SPIDER'S FEAST

I N A P O L E TA N I

ROMEO & JULIET

T H E M E A N D VA R I AT I O N S

LAS HERMANAS

S H O S TA K O V I C H S U I T E

WESTERN SYMPHONY

PROGRAM 1

25 – 27 O C TO B E R 2019

FSU CENTER FOR THE PERFORMING ARTS

MEDIA SPONSOR

GRAZIANO, RETROSPECTIVE FSU CENTER FOR THE PERFORMING ARTS

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25 - 27 O C TO B E R 2019

A MESSAGE FROM THE DIRECTOR

RICARDO GRAZIANO

"For me it’s hard to believe that it was 9 years ago when I saw Ricardo performing at the Kennedy Center in Washington D.C. and now to see him in his 10th Season with the Company, it’s incredible how he has grown as a dancer and artist.

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.

"Both Ricardo and I are in full agreement that it would have been impossible at that stage to have thought of him as a choreographer, let alone that one day I would put together a program featuring entirely his choreographic works.

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, Varii Capricci; 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...; Graham’s Appalachian Spring; Nijinsky’s L’Après-midi d’un Faune; Nureyev’s Raymonda Act III; Robbins’ The Concert; Samsova’s Paquita; Tharp’s In the Upper Room, Nine Sinatra Songs; Taylor’s Airs; Tuckett’s Changing Light, Lux Aeterna, The Secret Garden; Tudor’s Lilac Garden; Wheeldon’s The American, There Where She Loved; Wright’s Giselle, Summertide.

"I’m tremendously proud of everything that Ricardo has achieved with us over the last decade, both as a dancer and a choreographer. From principal roles in ballets such as Sir Frederick Ashton’s Illuminations, George Balanchine’s Diamonds, and Dame Ninette de Valois’ The Rake's Progress, he has shown ability and understanding of the vast range of our craft.

"It has likewise been a pleasure to give him the opportunity to not only choreograph on the Company, but also to introduce his works nationally through our performances at the Jacob’s Pillow Dance Festival, Ballet West’s National Choreographic Festival, and at the Joyce Theater in New York.

"It has been said that being a choreographer is on par with being a chef, one has to have a starter, a main course and a desert, so with this in mind, I have given Ricardo a full program for our audience to savor."

- Iain Webb

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 in 2014 after a performance of Symphony of Sorrows.

Since then he has choreographed four more complete 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, The Jolly Overture and Somewhere for The Sarasota Ballet’s April 2018 Gala, and Amorosa in 2019.

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

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SHOSTAKOVICH SUITE G R A Z I A N O, R E T R O S P E C T I V E

SHOSTAKOVICH SUITE Ricardo Graziano's first commissioned work for The Sarasota Ballet, Shostakovich Suite delves into the composer's works through a vibrant display of classical choreography. The inspiration for this first work came eight years earlier during Graziano's time in Germany as a student. It was there Graziano first discovered the music of composer Dmitri Shostakovich, and where the seeds of his future ballet would take root. Commissioned by Director Iain Webb for The Sarasota Ballet’s opening program of the 2011 – 2012 Season, Shostakovich Suite would see its premiere on the 28th of October 2011 on a program alongside Peter Darrell’s Othello and Matthew Hart’s Tchaikovsky’s Ballet Fantasy.

Comprised of an octet of scenes, each expressing themes of movements from Shostakovich's “Suite for Jazz Orchestra No. 2” and “Ballet Suite No. 2“, Shostakovich Suite is a more classically traditional, non-narrative work similar in nature to the grand ballets of the late 19th century. During its premiere, Graziano pointed to choreographer George Balanchine as an inspiration for the elegant and more modern choreographic treatment.

Choreography by Music by

Ricardo Graziano Dmitri Shostakovich

Costume Design by

Bill Fenner

Lighting Design by

Aaron Muhl

DMITRI SHOSTAKOVICH

COMPOSER

Dmitri Shostakovich was the first major composer to come to maturity in the Soviet Union. Born in 1906 in St. Petersburg, his First Symphony, composed as his graduation piece from the conservatory there, soon became an international success. Two more symphonies, two operas, and three ballets followed before the denunciation in 1936 of his opera Lady Macbeth of the Mtsenk District and his ballet The Limpid Stream as Soviet control of the arts sharply increased and only the success of his Fifth Symphony saved his career. After that he concentrated mainly on orchestral and chamber works and music for films.

Despite a second denunciation in 1948 he continued to compose until his death in 1975 at age 68. His fifteen symphonies, two piano concertos and two for violin, fifteen string quartets, and twenty-four preludes and fugues for piano, among other works, make him one of the most important composers of the twentieth century, leaving what his biographer Laurel E. Fay has called a “broad legacy of inspired, arresting, and often anguished musical scores.“

Commissioned by The Sarasota Ballet First Performed by The Sarasota Ballet 28 October 2011 94

2019 – 2020 S E A S O N

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EN LAS CALLES DE MURCIA FSU CENTER FOR THE PERFORMING ARTS

EN LAS CALLES DE MURCIA En Las Calles de Murcia, Graziano’s fifth one-act ballet, received its premiere on the 27th of March 2015 on a program featuring Paul Taylor’s Company B and Graziano’s first choreographic work, Shostakovich Suite.

Choreography by

Embodying a distinctly Spanish flair, the ballet is the only Graziano work to have had a commissioned backcloth created for it, and the only work by him not to have been seen since its World Premiere.

Designer Jon Goodwin’s rich and striking backcloth gives the ballet a beautiful yet grounding atmosphere, accented by the earthy and flowing costuming.

Lighting Design by

Set to the music of Santiago de Murcia and taking its inspiration from the eponymous city of Murcia in southeastern Spain, En Las Calles de Murcia fuses 18th-century guitar melodies with contemporary choreography. This combination creates a ballet with a somber undertone that is contrasted by the energetic and vibrant movement.

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Music by Set Design by

SANTIAGO DE MURCIA

25 - 27 O C TO B E R 2019 Ricardo Graziano Santiago de Murcia Jon Goodwin Aaron Muhl Composer

Surprisingly little is known about the life of the Spanish guitarist and composer Santiago de Murcia. He was born in 1671 in Madrid, where he died in 1739. From 1704 to 1706, and perhaps until her death in 1714, he was the guitar teacher to Queen Marie Louise of Savoy, wife of the French-born King Felipe V, which attests to Murcia’s proficiency on the guitar. In 1714 he published in Antwerp an important treatise on the guitar that indicates he had studied with Francesco Guerau, Madrid’s leading teacher and performer, and then in 1729 he signed a declaration of poverty. That is essentially what is known of him. But Murcia’s music, much of which draws on dance forms from Spain, France, and Italy, was well enough known that two important manuscripts of his works have been found in Mexico, while a third, dated 1720, was discovered in Santiago, Chile, in 2003, even though there is no evidence that he ever ventured to the New World. What is certain, however, is the beauty and variety of his compositions, some of which also suggest African or African-American influences while remaining essentially Spanish.

Commissioned by The Sarasota Ballet First Performed by The Sarasota Ballet 27 March 2015 W W W.S A R A S OTA B A L L E T.O R G

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IN A STATE OF WEIGHTLESSNESS G R A Z I A N O, R E T R O S P E C T I V E

IN A STATE OF WEIGHTLESSNESS Graziano’s most critically acclaimed work, In a State of Weightlessness, was commissioned for The Sarasota Ballet’s first residency at the famed Jacob’s Pillow Dance Festival, in Becket, Massachusetts. Premiering on the 12th of August 2015 on a program featuring Sir Frederick Ashton's Monotones I & II and Christopher Wheeldon’s The American, it was his first work to achieve national recognition and, two years later, would be requested by Ballet West to be performed by The Sarasota Ballet as part of the inaugural National Choreographic Festival in Salt Lake City, Utah.

Different than his previous choreographic creations, where the music served as his initial inspiration, Graziano had already fleshed out the ballet before he had arrived at the perfect accompanying score. Having listened to numerous composers and their works, he eventually settled on the second movement of Philip Glass’ Tirol Concerto for Piano and Orchestra. The score would fit perfectly to Graziano’s choreographic exploration of concepts of lightness, movement, and suspension.

Created on five couples, Graziano’s men almost fade into Aaron Muhl’s enigmatic and shadowy lighting, allowing the women to appear virtually weightless during the intense pas de deux that form the choreographic structure of the piece. Reviewing the world premiere of In a State of Weightlessness, Boston Globe dance critic Janine Parker wrote, “Weightlessness is indeed weighted, with intensity and beauty.”

Choreography by

Ricardo Graziano

Music by

Philip Glass

Lighting Design by

Aaron Muhl

PHILIP GLASS

Composer

Through his operas, his symphonies, compositions for his own ensemble and wide-ranging collaborations with artists from Twyla Tharp to Allen Ginsberg, Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times. Glass is the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film, and in popular music—simultaneously. Born in 1937, he grew up in Baltimore, studying at the University of Chicago, The Juilliard School and in Aspen with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland, Virgil Thomson, and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar.

He returned to New York in 1967 and formed the Philip Glass Ensemble—seven musicians playing keyboards and a variety of woodwinds, amplified and fed through a mixer. The new musical style that Glass was evolving was eventually dubbed “minimalism,” but Glass himself never liked the term and preferred to speak of himself as a composer of “music with repetitive structures.” In the past 25 years, Glass has composed more than 20 operas, 8 symphonies, 2 piano concertos, film soundtracks, string quartets and a growing body of work for solo piano and organ. He has collaborated with Paul Simon, Linda Ronstadt, Yo-Yo Ma, and Doris Lessing, among many others. He presents lectures, workshops, and solo keyboard performances around the world, and continues to appear regularly with the Philip Glass Ensemble.

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GRAZIANO, RETROSPECTIVE FSU CENTER FOR THE PERFORMING ARTS

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

LAS HERMANAS

REPRESSION AND OPPRESSION

13 NOVEMBER 2019 - 6:00 PM

Venture behind the scenes into the dark world created by choreographer Sir Kenneth MacMillan for an intimate look into the coaching and rehearsing of Las Hermanas.

Together with the dancers of The Sarasota Ballet, renowned repetiteur Grant Coyle and Former Royal Ballet Prima Ballerina Margaret Barbieri delve into the nuances behind this stunning ballet.

BRANDENBURGS

15 JANUARY 2020 - 6:00 PM

BAROQUE MODERNITY

Join Michael Trusnovec, one of the Paul Taylor Dance Company’s greatest stars, as he coaches and guides the dancers of The Sarasota Ballet in the upcoming company premiere of Taylor’s baroque masterpiece Brandenburgs. This event acts as the start to The Sarasota Ballet’s celebration this Season of the life and works of the iconic choreographer Paul Taylor.

ROMEO & JULIET

18 MARCH 2020 - 6:00 PM

ROMANCE AND TRAGEDY

Discover the beauty and heartache of Ashton’s celebrated production of Romeo & Juliet. Experience this unique insight as famed dancer and director Peter Schaufuss rehearses the dancers of The Sarasota Ballet in the masterpiece that was created on the Royal Danish Ballet and Schaufuss’ parents, who originated the roles of Juliet and Mercutio.

DANTE SONATA

6 APRIL 2020 - 6:00 PM

DARKNESS AND LIGHT

Join The Sarasota Ballet for a behind-the-scenes look at Sir Frederick Ashton’s wartime masterpiece, Dante Sonata. Revived by the Birmingham Royal Ballet in 2000, Director David Bintley headed the ballet’s return to the stage and choreographed a few small sections that had been completely lost.

THE SPIDER’S FEAST

15 APRIL 2020 - 6:00 PM

NATURE AND ARTISTRY

Critically acclaimed choreographer David Bintley returns to the Sarasota studios for the revival of his ballet The Spider’s Feast. Join him as he coaches and choreographs on the dancers of The Sarasota Ballet for this remarkable opportunity to be up close with one of the greatest choreographers of our time.

PROGRAM 2

MEDIA SPONSOR

22 – 23 N O V E M B E R 2019 S A R A S OTA O P E R A H O U S E

THEME AND VARIATIONS S Y M P H O N I C TA L E S

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

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

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

Choreography by Music by Original Designs by Designs by Staged by Lighting Design by

George Balanchine Pyotr Ilyich Tchaikovsky Karinska Peter Farmer 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 ballet constantly performed and appreciated around the world.

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PYOTR ILYICH TCHAIKOVSKY

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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 this started 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. Karinska died in 1993 at the age of 97.

PETER FARMER

SANDRA JENNINGS

Designer

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

Farmer’s first ballet design was for Ballet Rambert’s Agrionia (1964), the first of many key collaborations with choreographer Jack Carter.

Since then, he collaborated with most of the world’s leading choreographers and dance companies, including designs for Sir Peter Wright’s Giselle and Coppélia, Dame Alicia Markova’s Les Sylphides, Robert North’s Troy Game, Sir Frederick Ashton’s The Dream, Andre Prokovsky’s The Three Musketeers, Sir Kenneth MacMillan’s Winter Dreams, Erik Bruhn’s Chopiniana, Stanton Welch’s Madame Butterfly, Houston Ballet’s Manon, among many others.

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 (SAB). 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 from 2002-2006 for the San Francisco Ballet.

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

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

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LAS HERMANAS S Y M P H O N I C TA L E S

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LAS HERMANAS In the oppressive heat of a Spanish summer, five women—sisters—wait under the stern eye of their dominating mother. Then enters a cocky young man, engaged to the eldest sister but more interested in the beautiful youngest. This is the world of Kenneth MacMillan’s ballet Las Hermanas—The Sisters—based on the celebrated play The House of Bernarda Alba, by the Spanish poet and playwright Federico Garcia-Lorca. Each sister presents a full character, most notably the spinsterish eldest, the still attractive but spiteful middle sister, and the passionate youngest, all held down by the baleful matriarch until the arrival of a young man into what one critic has called “this pressure-cooker of repressed desire.”

MacMillan choreographed Las Hermanas in 1963 for the Stuttgart Ballet, directed by his close friend John Cranko. He would go on to make five more ballets over the next fifteen years for Cranko and Stuttgart, where he felt relieved of the pressures of The Royal Ballet under the watchful eye of its founder, the redoubtable Dame Ninette de Valois, and the sometimes unsympathetic board of The Royal Opera House. The set was by his frequent collaborator Nicholas Georgiadis, who had first suggested Lorca’s play as a possible subject. But rather than the expected Spanish music, MacMillan turned instead to the Concerto for Harpsichord and Small Orchestra by the Swiss composer Frank Martin, which supplies the suitably moody support for the dramatic action and its stunning conclusion.

The ballet also echoes themes of loneliness and oppression that resonate throughout Macmillan’s work from his earliest apprentice pieces in 1953 to The Judas Tree, his final ballet in 1992. Although the cast of Lorca’s play is entirely women, with men only included through the dialogue, MacMillan needed to show the male suitor as essential to the wordless medium of ballet.

Las Hermanas soon entered the repertory of other companies, including American Ballet Theatre in 1968, The Royal Ballet, starting in 1971 with its touring New Group, and in 2007 The Sarasota Ballet.

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Choreography by Music by Original Designs by Staged by

Sir Kenneth MacMillan Frank Martin Nicholas Georgiadis Grant Coyle

SIR KENNETH MACMILLAN

Choreographer

Sir Kenneth MacMillan was born in Dunfermline, Scotland in 1929.

He won a scholarship to the Sadler’s Wells Ballet School and in 1946 became a founding member of Sadler’s Wells Theatre Ballet, a new company formed by Dame Ninette de Valois. He gained his first dance experience at the Wells and then moved to Covent Garden. In 1952 he returned to the Wells and there found his true vocation as a choreographer. Gifted young dancers formed a Choreographic Group to present new works, and the hit of their first performance in 1953 was MacMillan’s first ballet, Somnambulism, to music by Stan Kenton.

In 1954 he staged a story ballet, Laiderette, and de Valois commissioned Danses Concertantes, which immediately established MacMillan as a choreographer of note. In the 1960s MacMillan would continue to prove his mastery through choreographing works such as the controversial The Invitation (1960), as well as a series of full-length ballets such as Romeo and Juliet (1965), The Sleeping Beauty (1967), and Swan Lake (1969). He became Director of Ballet at Deutsche Oper Berlin (1966-1969), and then Director of The Royal Ballet (1970-1977) and Resident Choreographer (1977-1982). In 1974 he created Manon and Elite Syncopations, and for the Stuttgart Ballet he created Requiem (1976) and My Brother, My Sisters (1978). Mayerling was first produced at Covent Garden in 1978 and had a triumphal American premiere in Los Angeles that same year. Other recent works were La Fin du Jour, which draws inspiration from the fashionable way of life shattered by World War II, and Gloria, a lament and thanksgiving for the generation that perished in World War I. MacMillan created his fifth full-length ballet, Isadora, which received its world premiere at Covent Garden in 1981.

He received his knighthood in 1983 and was Artistic Associate of American Ballet Theatre from 1984-1989. MacMillan died in London in October 1992 at the age of 62. At the time of his death he was choreographing a revival of the musical Carousel.

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LAS HERMANAS S A R A S OTA O P E R A H O U S E

FRANK MARTIN

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Composer

Frank Martin was born in Geneva, Switzerland, on 15 September 1890. He was the tenth and youngest child of a clergyman's family. He played and improvised on the piano even before he went to school. By the age of nine, Mr. Martin composed charming children's songs that were perfectly balanced without ever having been taught musical forms or harmony. A performance of Bach's St. Matthew Passion, heard at the age of twelve, left a lasting impression on the composer, for whom J.S. Bach remained the true master.

Martin attended the University of Geneva for two years where he began studying piano and composition with Joseph Lauber, who initiated him in the "craft," especially in instrumentation. In 1926, Martin founded the Société de Musique de Chambre de Genève, which he led as pianist and harpsichord player for ten years. He was artistic director of the Technicum Moderne de Musique from 1933 to 1940 and president of the Swiss Association of Musicians between 1942 and 1946.

In 1932, he became interested in the 12-tone technique of Arnold Schönberg. He incorporated certain elements into his own musical language, creating a synthesis of the chromatic and twelve-tone techniques. Le Vin Herbé (1941) was the first important work in which he completely mastered this very personal idiom. Together with the Petite Symphonie Concertante (1944-45), it established his international reputation. Martin's compositions kept the same vitality until the end of his life. He worked on the cantata Et la Vie l'Emporta until ten days before his death on 21 November 1974.

NICHOLAS GEORGIADIS

Designer

In 1955, while looking for a designer for, Danses Concertantes, his first ballet for a major company, Sir Kenneth MacMillan chose the work of an unknown Greek student, Nicholas Georgiadis. Born in Athens in 1923, Georgiadis had already studied in his native Athens and New York before enrolling in London’s Slade School of Art, where MacMillan discovered him. This became the first of fifteen collaborations with MacMillan, mostly for the Royal Ballet, including Romeo and Juliet, Manon, Mayerling, and The Prince of the Pagodas. Georgiadis also went on to design for many companies including American Ballet Theatre, the National Ballet of Canada, London Festival Ballet, La Scala, and the Paris Opéra Ballet under Rudolf Nureyev. He also worked in opera, theatre, and film as well as teaching design at the Slade School, helped found the Society of British Theatre Designers, and in his later years returned to painting before his death in 2001.

GRANT COYLE

Choreologist & 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.

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WESTERN SYMPHONY A ballet about cowboys and dance-hall girls may seem an odd fit for a Russian choreographer from Saint Petersburg, but in 1954 George Balanchine’s Western Symphony set such characters dancing to a score packed with familiar Western tunes like “Red River Valley” and “Oh, Dem Golden Slippers.” And, as Hershy Kay’s exhilarating score uses those tunes as the themes for a classical symphony, so Balanchine uses the classic ballet vocabulary to bring to life the goings-on in a typical frontier town as shown in the Western movies he loved to watch on TV. (He also regularly showed up for classes wearing plaid shirts with a Western slidetie.) There is no plot as such as the dancers show the gaiety and loneliness of life on the vast Western ranges, but with everything larger than life as in a John Ford movie. It also includes many small jokes, some recalling other ballets including his own, with his ballerinas in frilly dance-hall costumes or wearing an extravagant hat, while the men seem ready to mount the nearest steed.

He once said to a biographer, “If you were to say to me ‘What’s the best thing in America’ I would reply ‘Cowboys! Westerns!’ The people are right for it, they know what they’re doing and to me it rings true.”

Balanchine often compared his ballet programs to a menu, needing the right balance of starter, main course, and dessert. A week after the premiere of the lighthearted Western Symphony came Ivesiana, to the music of the American iconoclast Charles Ives, one of his darkest ballets, just as Western Symphony is one of his brightest, a soufflé that we all can share.

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

GEORGE BALANCHINE

George Balanchine Hershy Kay John Boyd Karinska Sandra Jennings Aaron Muhl 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 (19521969), for whom he also created leading roles.

First Performed by New York City Ballet 7 September 1954

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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KARINSKA

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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 this started 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. Karinska died in 1993 at the age of 97.

HERSHY KAY

Music Arrangement

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 (SAB). 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 from 2002-2006 for the San Francisco Ballet.

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PROGRAM 3

20 – 21 D E C E M B E R 2019 VA N W E Z E L P E R F O R M I N G A R T S H A L L

MEDIA SPONSOR

SPONSOR

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

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JOHN RINGLING'S CIRCUS NUTCRACKER Matthew Hart’s freely adapted libretto draws inspiration from the Ringling family’s long association with the circus and their winter headquarters in Sarasota, while Peter Docherty’s designs set John Ringling’s The Nutcracker in the stylish art déco 1920s and 1930s.

There is no attempt to graft the ballet’s plot onto the actual facts or real lives of the Ringling family’s famous personalities, but there are strong hints of the great John Ringling in Hart’s Drosselmeyer (The Circus King), of his beloved wife Mable (The Christmas Tree Fairy) and his heir and nephew John Ringling North (The Nutcracker and The Ringmaster).

In Act One, Clara and her obstreperous brother Fritz travel with their wealthy parents by Pullman train to snowbound New York.

At Grand Central Station, they see the circus loading up, supervised by John Ringling—The Circus King—and his nephew. The fascinated Clara wanders across and meets the trapeze stars, Sugar and Prince, but is hauled away to the family’s Christmas Eve party at a fashionable ritzy hotel.

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

Choreography by Music by Design by Lighting Design by

Matthew Hart Pyotr Ilyich Tchaikovsky Peter Docherty Aaron Muhl

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

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

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

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

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

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

MATTHEW HART

Choreographer

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

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

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

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

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

PETER DOCHERTY

Designer

Peter Docherty has designed ballets for the world’s leading ballet companies, including The Royal Ballet, The English National Ballet, and American Ballet Theatre, as well as musicals in the West End and on Broadway, operas in Europe and North America, and plays in London.

He has worked with renowned artists, such as Gillian Lynn, Ned Sherrin, John Schlesinger, Lindsay Anderson, Alan Strachan, Mike Alfred, Colin Graham, John Taras, Peter Darrel, Tom Jobe, William Louther, Robert North, William Dollar, Michael Cordor, Matthew Hart, and Ronald Hynd.

His designs and paintings have been exhibited in Europe and North America, including a retrospective at The Royal Festival Hall (London). He has conceived and curated exhibitions, such as Designers Pushing the Boundaries and Advancing the Dance.

Publications include Design for Performance: from Diaghilev to the Pet Shop Boys (1996). His work is in collections at The Victoria and Albert Museum in London. He was awarded a Full Professorship (1997) by the University of the Arts London for his outstanding achievement as a designer and educator in the field of dance.

In 2013, Docherty designed Thomas Edur’s production of La Bayadere and in 2014, he designed a new Thomas Edur production of The Sleeping Beauty, both for the Estonian National Ballet.

In 2014 Pacific Northwest Ballet revived Ronald Hynd’s production of The Sleeping Beauty as designed by Docherty and the Hungarian National Ballet in Budapest presented a newly redesigned production of Ronald Hynd’s The Merry Widow.

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PYOTR ILYICH TCHAIKOVSKY

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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.

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Ellen Overstreet | Photographer Matthew Holler | Dress courtesy of Neiman Marcus Tampa Bay

The Sarasota Ballet

Sunday 5 January 2020

An extraordinary evening of world class ballet, guest artists, and fine dining.

CELEBRATING FORMER PRIMA BALLERINA OF THE ROYAL BALLET MARGARET BARBIERI and the 50th Anniversary of her promotion to Principal Dancer by Dame Ninette de Valois & Director John Field

Guests include DI ANA V I S HNE VA & M A RC EL O G O M ES

PROGRAM 4

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LES RENDEZVOUS REDEFINED MOVEMENT

LES RENDEZVOUS When Sir Frederick Ashton began Les Rendezvous in 1933, he was already an experienced choreographer, having created over twenty ballets and assorted shorter pieces for Marie Rambert’s Ballet Club (the future Ballet Rambert), the ad hoc Camargo Society, West End revues, and the fledgling Vic-Wells Ballet directed by Ninette de Valois. These included the evergreen Capriol Suite and Façade, and a number of substantial works now lost, like A Day in a Southern Port and The Lord of Burleigh.

It was as a freelance choreographer with close ties to the Ballet Club that de Valois invited Ashton to create his second ballet for her company, which already had three of his Camargo Society commissions in the repertory. Together with Constant Lambert, the company’s music director, Ashton chose the ballet music from Daniel Auber’s now-forgotten 1850 opera L’Enfant Prodigue, loosely based on the biblical parable of the Prodigal Son. He was fortunate that Alicia Markova had recently joined the company as its ballerina, and also the Polish virtuoso Stanislas Idzikowski, another veteran of the Diaghilev Ballets Russes. Together they would be the lead couple in the new ballet, supported by a small corps de ballet, while de Valois danced in a cheeky pas de trois.

Over the next fifteen years Ashton made many small changes in the ballet, including the addition of four young girls as a counterpart to the lovers, adapting it to changing dancers and circumstances but without changing its essence.

In the fashion of the time, most of Ashton’s early ballets focused on the development of characters through dance, even plotless works like Façade and the little Degas-inspired Foyer de Danse (1932). But perhaps inspired by Markova and Idzikowski, pupils of the great teacher Enrico Cechetti, in Les Rendezvous the classic steps of the dance d’école themselves form the subject of an essentially plotless ballet showing lovers meeting in a park. It’s dancing for its own sake with no real sense of characters or plot, an early example of a style Ashton would develop in such later masterpieces as Symphonic Variations, Scènes de Ballet, and Monotones.

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

Sir Frederick Ashton Daniel Auber Constant Lambert William Chappell Margaret Barbieri 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, when he accepted Dame Ninette de Valois’ invitation to join her Vic-Wells Ballet as Dancer and Choreographer, his principal loyalty remaining with what would become the Sadler’s Wells and ultimately The Royal Ballet. Besides his pre-war ballets at Sadler’s Wells (which demonstrated an increasing authority, with larger resources), Ashton choreographed for revues and musicals. His career would also embrace opera, film, and international commissions, creating ballets in New York, Monte Carlo, Paris, Copenhagen, and Milan. During the War, he served in the RAF (1941-1945) before creating Symphonic Variations for the Sadler’s Wells Ballet’s 1946 season in its new home at Covent Garden, affirming a new spirit of classicism and modernity in English postwar ballet.

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

Appointed Associate Director of The Royal Ballet in 1952, Ashton succeeded Dame Ninette de Valois as Director from 1963 to 1970.

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.

First Performed by The Royal Ballet 5 December 1933 First Performed by The Sarasota Ballet

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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DANIEL AUBER

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Composer

Now largely forgotten, Daniel Auber (1782-1871) was one of the most popular and prolific composers in nineteenth century France, writing nearly fifty operas to his credit. Born in Normandy but raised in Paris, he studied with Luigi Cherubini but came to music as a profession only on his father’s bankruptcy and death. After several lighter works, Auber collaborated with the prolific playwright and librettist Eugène Scribe for the 1828 La Muette de Portici. With its deaf-mute heroine (played by a ballet dancer) caught in a Neapolitan revolution led by her brother, it helped establish what became French grand opera.

Together they also wrote a series of opera-comique that became standard in the light repertory, with overtures that also became staples at light orchestral concerts. These range from Fra Diavolo, about a charismatic bandit, the Spanish adventures of Le Domino Noir, Chinese fantasy in Le Cheval de Bronze, and the touching Manon Lescaut.

In 1842 Auber was named director of the Paris Conservatoire de Musique, serving until 1870, the year before his death.

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.

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).

MARGARET BARBIERI

Repetiteur

Having spent 20 years as a Principal Dancer with The Royal Ballet, Margaret Barbieri’s wealth of knowledge and experience has enabled her to give back to the dance community through her years as a teacher and Repetiteur. During the last seven years Barbieri has staged productions for The Sarasota Ballet by some of the most important names in ballet, including Ashton, de Valois, Wright and Fokine. In addition to staging ballets for the Company, Barbieri is also Assistant Director. Her other staging credits include Iñaki Urlezaga Company (Argentina), K-Ballet (Japan), Oregon Ballet Theatre, Scottish Ballet, and Tbilisi Ballet Theatre.

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BRANDENBURGS REDEFINED MOVEMENT

BRANDENBURGS Over the years, Paul Taylor has choreographed dances to Beethoven string quartets, Stravinsky’s The Rite of Spring, the songs of the Andrews Sisters, music boxes, and time signals from the telephone operator. One lasting strand, however, has been baroque music and especially the music of Johann Sebastian Bach. From Junction in 1961, set to movements from Bach’s suites for solo cello, to the stunning Promethean Fire of 2002, to rich orchestral transcriptions of a Bach prelude, a choral prelude, and the monumental Toccata and Fugue in D minor, each of these works has revealed a different aspect of both Bach and of Taylor.

Thus Esplanade in 1975, using movements from several violin concertos, astonished audiences by using only pedestrian movement, but raised to its highest power and culminating in slips and slides that leave both dancers and audiences breathless.

Then in 1988 came Brandenburgs, a pure dance piece that, as its name suggests, uses movements from the beloved Brandenburg Concertos: two movements from No. 6 and all of No. 3. Balancing a solo quartet of a man and three women with a corps of five men, and drawing on a gracious movement vocabulary, Brandenburgs has reminded many viewers of George Balanchine’s Apollo while still developing a character all its own. Many of Taylor’s works offer a dark, even despairing view of life and present-day culture. But as the British critic Mary Clarke wrote soon after its premiere, “Beauty is the only word for Brandenburgs” as it “celebrates the good things in life. Such a radiant seamless flow of invention that the choreography seems an entirely natural way of moving to this music.”

Paul Taylor Dance Company

Music by Choreography by Staged by

Johann Sebastian Bach Paul Taylor Michael Trusnovec

Costume Design by

Santo Loquasto

Lighting Design by

Jennifer Tipton

PAUL TAYLOR

Choreographer

Paul Taylor, one of the most accomplished artists this nation has ever produced, helped shape and define America’s homegrown art of modern dance from the earliest days of his career as a dancer and choreographer in 1954 until his death in 2018.

As artistic director of the Paul Taylor Dance Company he created 147 dances, many of which rank among the greatest dances ever made. A trailblazer throughout his 64-year career, in 2015 he helped ensure the future of modern dance by establishing Paul Taylor American Modern Dance, which brings to Lincoln Center great modern works of the past, outstanding works by today’s leading choreographers, and commissioned works made on the Paul Taylor Dance Company.

Paul Taylor was born on July 29, 1930 and grew up in and around Washington, DC. He attended Syracuse University on a swimming scholarship in the late 1940s until he discovered dance through books at the University library, and then transferred to The Juilliard School. In 1954 he began his company while still dancing for other great artists. He joined the Martha Graham Dance Company in 1955 for the first of seven seasons as soloist while continuing to choreograph on his own troupe. In 1959 he was a guest artist with New York City Ballet, where Balanchine created the Episodes solo for him.

Mr. Taylor received nearly every important honor given to artists in the United States. In 1992 he was a recipient of the Kennedy Center Honors and received an Emmy Award for Speaking in Tongues, produced by WNET/New York the previous year. He was awarded the National Medal of Arts by President Clinton in 1993. He was the recipient of three Guggenheim Fellowships and eight honorary Doctor of Fine Arts degrees. Awards for lifetime achievement include a MacArthur Foundation Fellowship – often called the “genius award.” Mr. Taylor was awarded France’s highest honor, the Légion d’Honneur, in 2000 for exceptional contributions to French culture.

Mr. Taylor died in Manhattan on August 29, 2018, leaving an extraordinary legacy of creativity and vision not only to American modern dance but to the performing arts the world over.

Photography Paul B. Goode

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JOHANN SEBASTIAN BACH

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Composer

Johann Sebastian Bach was the greatest of a remarkable family of musicians who flourished in Germany between about 1600 and 1800.

Born in 1685 in the Thuringian town of Eisenach and orphaned early, he was trained by an older brother and at eighteen took his first job as a church organist. In 1708 he became a court musician in Weimar, moving a decade later to the court at Cöthen and then in 1723 to Leipzig as cantor and music director of the St. Thomas Church. There he founded the Collegium Musicum for concerts and was eventually appointed court composer at Dresden while teaching, composing, and playing at St. Thomas. Soon after his death in 1750, three of his sons had also become important composers.

Many of his compositions, including the cantatas, passions, harpsichord suites, and choral preludes for organ, developed established forms. Others were innovative, including the suites for solo violin and cello, The Well-Tempered Clavier and the Goldberg Variations for harpsichord, and The Art of Fugue. Others, like the Brandenburg Concertos, show his transformation of standard practices.

Famed for his playing and improvising in his lifetime, Bach later served as a model for composers from Mozart and Haydn, Beethoven, Schumann, and Mendelssohn through today when choreographers like Balanchine and Taylor turned to his works for inspiration and many jazz virtuosos warm up daily with his preludes and fugues.

MICHAEL TRUSNOVEC

Repetiteur

Hailed by The New York Times as “one of the world’s most luminous dancers,” Michael Trusnovec grew up dancing on Long Island, graduated from the Long Island High School for the Performing Arts, and earned a BFA in Dance Performance from Southern Methodist University.

For over two decades, Michael was a principal dancer with the Paul Taylor Dance Company, creating over 25 roles with, and appearing in more than 70 dances by Mr. Taylor. He also premiered new works by Larry Keigwin, Doug Elkins, Doug Varone, Lila York, Margie Gillis and Pam Tanowitz, and was featured in the company’s presentation of Martha Graham’s Diversion of Angels. In addition, Mr. Trusnovec served the Paul Taylor Dance Company as Associate Rehearsal Director, was featured in the 2004 PBS Great Performances: Acts of Ardor and the 2013 Paul Taylor in Paris, and continues to serve as the Director of Worldwide Licensing and as a repetiteur of Mr. Taylor’s dances.

Mr. Trusnovec has been honored with a 2018 Dance Magazine Award, the “Positano Premia La Danza” Dancer of the Year 2016, a 2006 Bessie Award, and was a 1992 YoungArts awardee and Presidential Scholar in the Arts. He is a co-founder of the Asbury Park Dance Festival, serves on the Board of Directors for Dance Films Association, was a 2019 Dance Panelist for the New York State Council on the Arts, and is a national reviewer, and Alumni Advisory Council member for YoungArts. Mr. Trusnovec will perform as a guest artist with New York City Ballet during their Winter 2020 Season’s presentation of Episodes.

Paul Taylor Dance Company

Photography Paul B. Goode

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I NAPOLETANI REDEFINED MOVEMENT

I NAPOLETANI Choreographed in 2007 for Dominic Walsh's own Houston-based company, Dominic Walsh Dance Theater, smash hit I Napoletani sees its inspiration in the vitality of the city and people of Naples.

This lighthearted ballet opens to Pergolesi's dramatic Stabat Mater, followed by Neapolitan popular music from the late 1800s, pivoting both in musical and choreographic tone.

Describing the ballet and its inspiration, Walsh has said that "There is such a specific charm and humor to the people of Naples, and it is represented in their traditional folk music, like so many cultures. I feel an unmistakable vitality in the air when I am there, and I thought it would be fun to pay a small homage to this spirit of life that the Neapolitan people really appreciate."

Opening with an image montage to O Sole Mio, the ballet takes the audience to visit and pay homage to Teatro San Carlo, one of the oldest theaters in Europe and the home of the first ballet school. Using Pergolesi's Stabat Mater, the ballet initially takes a look at the evolution of dance and theater, before traveling to a kitchen in Naples. Accompanied by traditional Neapolitan music, food, humor, and heart, I Napoletani celebrates, as a HeraldTribune dance critic wrote, "the histrionic demonstrativeness of a culture firmly based in food, bravado and displays of the heart."

Choreography by Music by Set Design by Costume Design by Video Design by

DOMINIC WALSH

Dominic Walsh Various Artists Dominic Walsh Travis Halsey, Domenico Luciano, Jane Thayer, & Dominic Walsh Jeremy Choate

Choreographer

In 2002, Dominic Walsh, Principal Dancer and Choreographer with Houston Ballet, founded Dominic Walsh Dance Theater. After the company’s debut in February 2003, Dance Magazine declared, “At last Houston has a contemporary dance company on par with its symphony, opera and ballet companies.” The company’s roster includes works by Walsh, Mats Ek, Jiří Kylián, Mauro Bigonzetti, and Sir Matthew Bourne.

Walsh was born in Elgin, Illinois and started his training with Lisa Boehm, Frank Boehm, Warren Conover, and Larry Long in Chicago. He joined Houston Ballet in 1989, and was promoted to Principal Dancer by 1996.

Walsh danced throughout Asia, Europe, and North America, performing all the major classics including Swan Lake, Giselle, Don Quixote, Romeo and Juliet, and Manon with international stars such as Nina Ananiashvili and Alessandra Ferri. He danced Houston Ballet’s entire contemporary repertoire, and Ben Stevenson created numerous roles for him including Marc Antony in Cleopatra.

In 1998, Walsh created Flames of Eros on Houston Ballet. This work won the Choo-San Goh Award for Choreography. He created three more works for Houston Ballet and in 2004, Walsh left to pursue Dominic Walsh Dance Theater full-time. Walsh won a second Choo-San Goh Award in 2007 and received a 2008 Princess Grace Award, both for The Trilogy: Wolfgang Amadeus Mozart. In 2012 he was inducted into the Fox Valley Hall of Fame.

Walsh continues to receive commissions to set and create works nationally and internationally. Walsh served as the Resident Choreographer for The Sarasota Ballet, creating/staging Wolfgang for Webb (2008), The Trilogy (2009), Time out of Line (2011), Clair de Lune (2011) and travels throughout the U.S. and abroad as a guest teacher and coach for companies and academies. Walsh also stages the works of his longtime mentor, Ben Stevenson. The Carl Jung Center has shown interest in Walsh’s creative process where he has also given lectures. He has written for various publications on dance, and was a regular columnist for ORIGIN Magazine. Walsh made his film debut as a Co-Director at the Brussels Short Film Festival in Spring 2015 with Malta Kano, TX. In 2015 Walsh became a proud father and closed DWDT after 12 seasons. In December 2015 he launched his 200 page photo book he created with Company Photographer, Gabriella Nissen, simply titled Dominic Walsh Dance Theater.

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MUSIC G. Capurro and E. Di Capua's O sole mio

Nisa and Carosone's 'O Sarracino

Giovanni Battista Pergolesi's Stabat Mater

Luigi Denza and Peppino Turco's Funiculì, Funiculà

Pergolesi's Cujus animam gementem

A. Califano and E. Cannino's 'O Surdato 'Nnammurato

G. Capaldo and V. Fassone's 'A Tazza 'e Café

Tarantella di Rossini (traditional)

Nisa and Fanciulli's Guaglione

Testa, Nisa, and Martelli's 'A Pizza

JEREMY CHOATE

Video Designer

Jeremy Choate’s work crossed numerous borders, from dance, theater, and music companies to produced installations in galleries across the nation. His artistic impact was felt most keenly in Houston, TX, where he worked as a lighting designer for most, if not all the dance organizations based there, with dance reviewer Nancy Wozny referring to Choate as “one of Houston’s most treasured dance lighting designers.”

Choate considered light as another moving element and, in the process, elevated the production values of the numerous dance companies with which he worked. With a keen sense of rhythm, Choate often used dynamic cues in order to highlight the choreography on stage, making his lighting designs an integral part of the piece, rather than a supporting element. Of all his artistic collaborations, his work with choreographer Jennifer Wood with Suchu Dance stands as his strongest. Of particular note was his work on the piece Impluvium, where he installed 500 small LED lights suspended and evenly spaced throughout the high space onstage. Tragically, Choate passed away in August 2012 at the age of 33 after being struck in a hit and run accident.

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Dancer: John Harnage Creative: Laspata DeCaro

PROGRAM 5

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FSU CENTER FOR THE PERFORMING ARTS

MEDIA SPONSOR

PAUL TAYLOR DANCE COMPANY FSU CENTER FOR THE PERFORMING ARTS

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PAUL TAYLOR DANCE COMPANY

MICHAEL NOVAK

“The american spirit soars whenever Taylor’s Dancers dance.”

– San Francisco Chronicle

Michael Novak became the second Artistic Director in the history of the Taylor Foundation in 2018. He was a member of the Paul Taylor Dance Company for nine years; his first season earned a nomination for the Clive Barnes Foundation Dance Award.

He has danced 56 roles in 50 Taylor dances, 13 of which were made on him, and has had roles created on him by five Taylor Company Commission choreographers. He graduated magna cum laude from Columbia University, and was elected to Phi Beta Kappa, in 2008. While there, he was Artistic Associate of the Columbia Ballet Collaborative.

Dancemaker Paul Taylor first presented his choreography with five other dancers in Manhattan on May 30, 1954. In the ensuing 64 years, the Paul Taylor Dance Company has traveled the globe many times over, bringing Mr. Taylor’s repertoire to theaters and outdoor venues in more than 500 cities in 64 countries. Notable among these was its 1997 tour throughout India in celebration of that nation's 50th Anniversary, and its 1999 engagement in Chile, named the Best International Dance Event by the country's Art Critics' Circle. In celebration of the Company’s 50th Anniversary, the Taylor Foundation presented Mr. Taylor's works in all 50 States between March 2004 and November 2005. That achievement underscored PTDC’s historic role as one of the early touring companies of American modern dance. Its performances in China in 2018 marked its sixth tour there, and it regularly performs throughout North and South America, Asia and Europe. The Company annually tours throughout the United States as well, and is seen each year at the American Dance Festival in Durham, NC, the Mahaiwe Performing Arts Center in Great Barrington, MA, and at Lincoln Center. Its most recent three-week Lincoln Center engagement began in October 2019.

PAUL TAYLOR

Artistic Director

POLARIS

Choreographer

Paul Taylor (1930-2018) was one of the most accomplished artists this nation has ever produced. He established the Paul Taylor Dance Company in 1954, serving as both a virtuoso performer and a trailblazing choreographer until 1974, when he turned exclusively to choreography. During his 64-year career as a dance maker, Mr. Taylor helped define and shape the home-grown American art of modern dance through a matchless repertoire of 147 works with an extraordinary range of subject matter. In 2015 he established Paul Taylor American Modern Dance with the goal of creating an institutional home for modern dance at New York’s Lincoln Center. In addition to presenting Mr. Taylor’s works, PTAMD presents iconic works by great modern choreographers of the past and present, and commissions the dance makers of the 21st Century to work with the Taylor Company, thereby helping to ensure the future of the art form.

Photography Paul B. Goode

SYZYGY

CLOVEN KINGDOM Music by Arcangelo Corelli, Henry Cowell and Malloy Miller Choreography by Paul Taylor POLARIS Music by Donald York Choreography by Paul Taylor SYZYGY Music by Donald York Choreography by Paul Taylor Photography Paul B. Goode

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PROGRAM 6

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VA N W E Z E L P E R F O R M I N G A R T S H A L L

SPONSOR

MEDIA SPONSOR

ROMEO & JULIET VA N W E Z E L P E R F O R M I N G A R T S H A L L

ROMEO & JULIET For one of the most popular ballets in the world, Prokofiev’s Romeo and Juliet got off to a complicated start. Commissioned by Leningrad’s Kirov Ballet and then by Moscow’s Bolshoi Ballet, the score was composed surprisingly quickly in the summer of 1935 as the composer was completing his plans to return to the Soviet Union. But problems of various kinds intervened and it wasn’t until January 1940, after some contentious revisions, that the Kirov finally staged the ballet, choreographed by Leonid Lavrovsky with Galina Ulanova as Juliet and Konstantin Sergeyev as Romeo. It proved a triumph and was soon moved to the Bolshoi. (A shorter version, using only the two suites Prokofiev arranged in 1936-7, had earlier been staged in Brno, Czechoslovak, by Vania Psota in 1938.)

Other versions gradually followed, by Dimitri Parlic in Belgrade (1948) and Margarita Froman in Zagreb (1949), while the 1954 film with Ulanova and Yuri Zhdanov did much to spread its fame abroad. The first production outside the Soviet orbit came in May 1955 by Sir Frederick Ashton for the Royal Danish Ballet, which emphasized the score’s lyrical qualities and focused on the lovers in three extended pas de deux while also showing the power and threat of the warring families. After four performances that August in Edinburgh, the ballet proved a great success on the company’s 1956 American tour, where only the suites had been heard, a success repeated on their 1960 and 1965 tours.

Additional stagings soon proliferated, including those by Serge Lifar (1955), John Cranko (1958), Kenneth MacMillan (1965), and John Neumeier (1971). However, after 1966 Ashton’s version dropped from the Danish repertory and was considered lost. Then in 1985 the Danish dancer Peter Schaufuss, the son of Ashton’s first Juliet and Mercutio and the new director of London Festival Ballet (now the English National Ballet), drew on members of the original cast to return the ballet to the stage, aided by Ashton himself, who took the opportunity to choreograph and insert a new pas de trois for Romeo, Mercutio, and Benvolio, as well as clean up several sections and rechoreograph others. It is this version that we can see again at long last.

Choreography by Production Courtesy Music by Design by Staged by

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Sir Frederick Ashton Peter Schaufuss Sergei Prokofiev Peter Rice Marilyn Vella-Gatt & Luke Schaufuss

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

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

Appointed Associate Director of The Royal Ballet in 1952, Ashton succeeded Dame Ninette de Valois as Director from 1963 to 1970.

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.

First Performed by the Royal Danish Ballet 19 May 1955 First Performed by The Sarasota Ballet

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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PETER SCHAUFUSS

Production Owner

Peter Schaufuss was almost literally born into the theatre, the son of Frank Schaufuss and Mona Vangsaae, leading dancers with the Royal Danish Ballet. As a child, he joined his parents on stage in children's roles including the Page Peter in Ashton’s Romeo & Juliet. After his official debut with the company in Don Quixote pas de deux at the age of eighteen, he embarked on an international career as a principal star dancer with the world's leading companies including London Festival Ballet/English National Ballet, Royal Ballet, New York City Ballet, American Ballet Theatre, Paris Opera, Mariinsky Ballet and the Royal Danish Ballet.

During that time he danced all the major roles at the world's most prestigious ballet stages and had choreographers such as George Balanchine, Sir Kenneth MacMillan, Roland Petit, and Sir Frederick Ashton creating on him. Peter has been Director of London Festival/English National Ballet (where he founded the English National Ballet School), Berlin Ballet Deutsche Oper, and Royal Danish Ballet. In 1997 he successfully started his own company, Peter Schaufuss Ballet & School, in Denmark, choreographing 22 full-length Ballets/Dancicals and touring extensively. Peter has produced, directed, and choreographed over a hundred productions worldwide, winning many awards including the Evening Standard and Olivier Award in London, the Berlin and Edinburgh Festival Critics Award. His four-part BBC program “DANCER” seen worldwide was nominated for the Emmy Award in the United States. In 1988 Peter was Knighted in his native Denmark and also later received The Order de La Couronne in Belgian for his services to the arts. This year he has transferred his Peter Schaufuss Ballet to Edinburgh, where he owns two theatres, changing the Company name to Edinburgh Festival Ballet & School. His son Luke and daughter Tara continue the proud family tradition as dancers with The Sarasota Ballet and the Royal Danish Ballet.

SERGEI PROKOFIEV

Composer

Sergei Prokofiev entered the St. Petersburg Conservatory at 13.

After his 1909 graduation, he traveled to Paris and London, impressed Diaghilev, but apart from a short trip to Rome, where he conferred with the impresario and met Stravinsky, he spent World War I in Russia. After the Revolution, he left for the USA and Western Europe, where he wrote the ballets Chout (1920), Le Pas d’Acier (1927), and Prodigal Son (1929) for the Ballets Russes, and the second, third, and fourth symphonies, while both his opera The Love for Three Oranges (1921) and the popular 3rd Piano Concerto (1931) were first heard in Chicago.

In 1936, Prokofiev returned to the Soviet Union, where his work was initially approved by the Stalinist regime. His work included film scores with Eisenstein (Alexander Nevsky, which he reworked as an oratorio, and Ivan the Terrible), the ballets Romeo & Juliet and Cinderella, four operas, including War and Peace, symphonies, concertos, and orchestral works. After 1948, when his music and that of Shostakovich were denounced as “marked with Formalist perversions,” Prokofiev continued composing, despite ill health and severe financial straits, until his death in 1953, ironically on the same day as Stalin.

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PETER RICE

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Designer

The prolific and respected British stage designer Peter Rice was born in 1928 in Simla, the high-altitude summer refuge of British Raj India. He studied stage design at the Royal College of Art in London, where he met and married textile designer Pat Albeck. His first stage designs in 1951 led to a long and successful career designing sets and costumes for opera, ballet and theater worldwide. A series of acclaimed 1950s designs for London’s Old Vic Theatre Company (Time Remembered, The Taming of the Shrew, The Winter’s Tale, Much Ado About Nothing) was followed by major theater work including many West End productions, work with Greenwich Theatre Company, Royal Exchange Manchester, Chichester Festival Theatre, and many leading ballet and opera companies (Royal Opera, Sadler’s Wells and New Sadler’s Wells Opera, Scottish Opera, Handel Opera, etc.). Rice passed away in January 2016 at the age of 87.

MARILYN VELLA-GATT

Choreologist and Repetiteur

Marilyn began her professional career teaching at Arts Educational School prior to entering London Festival Ballet.

During her time there she had leave of absence to spend a total of 14 months with the National Ballet of Canada. In 1991 she was invited by Peter Schaufuss to join his ballet staff at the Deutsche Oper, Berlin. After three years she took a position at the Royal Danish Ballet for four years before returning to the UK to pursue a freelance career. Her field has taken her to set ballets in Australia, Austria, Germany, Japan, Italy, USA, Chile, Rio de Janeiro and Estonia. Having worked with many of the most major choreographers, her repertoire includes the works of John Cranko, Ronald Hynd, Antony Tudor, Sir Frederick Ashton, Peter Schaufuss, Glen Tetley, and Michael Corder.

LUKE SCHAUFUSS

Repetiteur

Luke grew up surrounded by a ballet company from the age of three years old, which inspired him to pursue a career as a dancer. Trained at the Royal Danish Ballet in the Bournonville style, he later went on to diversify his style and repertoire by joining Birmingham Royal Ballet, Scottish Ballet, and most recently The Sarasota Ballet in 2019.

Luke has staged several productions of La Sylphide for Queensland Ballet in 2015, which toured to the London Coliseum to great critical acclaim, as well as for the Badisches Staatstheater in Karlsruhe, Germany in 2016.

In 2016 Luke assisted in staging Ashton's Romeo & Juliet for the Los Angeles Ballet. Most recently, in winter of 2016 Luke assisted Peter Schaufuss in staging his Nutcracker for a tour of Denmark.

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The

Principal Film Series

Explore the world of dance through cinema inside Studio 1

THE MALE DANCER

9 DECEMBER 2019 - 6:00 PM MEDIA SPONSOR

DANSEUR NOBLE

Join The Sarasota Ballet for a special look at the power of the male dancer. From Vaslav Nijinsky, through Rudolph Nureyev, Anthony Dowell, and Johan Kobborg, the role and perception of the male dancer has changed a great deal. Discover the athleticism, passion, strength, and artistry of the Danseur Noble.

“I do not try to dance better than anyone else. I only try to dance better than myself.” - Mikhail Baryshnikov

PAUL TAYLOR

CREATIVE DOMAIN

10 FEBRUARY 2020 - 6:00 PM

Continuing The Sarasota Ballet’s tribute to the late Paul Taylor, this engrossing documentary provides an unprecedented exploration of Taylor’s creative process. The dominant voice is Paul’s; between the guarded and unguarded moments, we see him with new eyes and new understanding.

“We’re shown what the camera has seldom been able to record: a great choreographer at work on a new piece” – Alastair Macaulay, The New York Times.

DANIELLE BROWN

9 MARCH 2020 - 6:00 PM

PRINCIPAL DANCER

Join Danielle Brown, Principal Dancer of The Sarasota Ballet, for a fascinating and revealing look at her career so far with The Sarasota Ballet. Over the past 12 Seasons, Danielle has performed numerous leading roles by some of the great choreographic masters of the 20th and 21st century. Alongside clips of her favorite on-stage roles, Danielle will reveal the hard work, dedication, and coaching that is required to become a Principal Dancer.

PROGRAM 7

MEDIA SPONSOR

24 – 25 A P R I L 2020 S A R A S OTA O P E R A H O U S E

IN THE NIGHT B E YO N D W O R D S

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IN THE NIGHT A starry evening in a park or a terrace off a ballroom. A piano plays a Chopin nocturne as a couple enters, dances, and slowly leaves.

Another couple enters and dances to another nocturne, then a third couple to a third nocturne. Finally, to a fourth nocturne, the three couples stroll in, exchange brief greetings and leave. This is all that happens in Jerome Robbins’ In the Night, but just as each nocturne presents a small world in itself, so the dances of the three couples encompass a surprising range of relationships before the polite meeting and passing at the close.

In this way while little occurs, much is suggested in this third of Robbins’ five ballets to the music of Chopin. Choreographed in1970 for New York City Ballet, it followed by a year his groundbreaking Dances at a Gathering, a plotless work for ten dancers lasting an hour that creates a community while a variety of Chopin waltzes, mazurkas and more played on the piano. Dances at a Gathering also marked Robbins’ definitive return to NYCB after years spent working in musical theatre and with his own company.

In the Night reflects a more sophisticated milieu, both more formal and more personal, but what Robbins, who was famously reticent about explaining his ballets, said about Dances at a Gathering, that “it’s about relationships,” is equally true of In the Night.

How different from his first ballet to Chopin, the sly and often broad comedy of The Concert, while his last two, each a pas de deux, retain the formality of In the Night without its deeper implications. In the Night is also notable in using only nocturnes, a form that Chopin borrowed from the composer John Field and reworked in particularly personal ways, slowly developing an intimate atmosphere, often with an element of surprise before a return to the mood of the beginning. As Chopin’s 21 nocturnes, many of them technically demanding, extended both the expressive powers of the genre and of the piano, so did Robbins with dance in this emotionally suggestive ballet supported only by the piano.

Choreography by

Jerome Robbins

Music by

Frédéric Chopin

Costume Design by Staged by Lighting Design by

JEROME ROBBINS

Sir Anthony Dowell Ben Huys Jennifer Tipton

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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IN THE NIGHT S A R A S OTA O P E R A H O U S E

FRÉDÉRIC CHOPIN

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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.

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.

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.

First Performed by New York City Ballet 29 January 1970 First Performed by The Sarasota Ballet 24 April 2020 W W W.S A R A S OTA B A L L E T.O R G

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DANTE SONATA B E YO N D W O R D S

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DANTE SONATA “When the poet paints hell, he paints his life,” wrote Victor Hugo in 'After a reading of Dante,' the poem that inspired Franz Liszt to compose his Après une lecture du Dante, Fantasia quasi sonata, the remarkable piano work that became the score for Frederick Ashton’s Dante Sonata. In January 1940, less than four months after the brutal German invasion of Poland started World War II, Ashton’s response was this astonishing work depicting the struggle between the forces of good and evil as exemplified by the Children of Light and the Children of Darkness, a ballet that raises questions without providing answers.

The inspiration for Hugo's poem, Liszt's score, and Ashton's ballet was The Inferno, the first book of The Divine Comedy, depicting Dante’s epic through Hell, Purgatory, and Heaven. Early in The Inferno, the poet hears “strange tongues, horrible outcries, words of pain, voices deep and dark.” It is this world that Ashton evokes as the forces of Light and Darkness struggle as if tossed by a great wind. To create this dark world, Ashton used movements more akin to modern dance than classic ballet, with the dancers barefoot, supported by the costumes and backdrop of Sophie Fedorovitch, his favorite designer, and the powerful arrangement of Liszt’s score for piano and orchestra by Constant Lambert, the Sadler’s Wells’ music director and Ashton’s close collaborator in this and many other works.

To discourage a literal reading of the ballet a program note stated that the score was intended to represent in musical form Liszt’s reactions after reading Dante’s poem, adding that “The ballet is therefore a freely symbolic reading of the moods and form of the music and, though it represents the warring attitudes of two different groups of equally tortured spirits, it tells no set story.”

Although the ballet became a repertory standard throughout the war, afterward the national mood changed and it was dropped in 1950 and considered lost. Fifty years later, Dante Sonata finally reemerged, reconstructed by dedicated members of the original cast and Choreographer and Director David Bintley, for the Birmingham Royal Ballet and enabling us to see it now.

Choreography by Music by Orchestration by Original Designs by Staged by

Sir Frederick Ashton Franz Liszt Constant Lambert Sophie Fedorovitch Patricia Tierney and David Bintley

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, when he accepted Dame Ninette de Valois’ invitation to join her Vic-Wells Ballet as Dancer and Choreographer, his principal loyalty remaining with what would become the Sadler’s Wells and ultimately The Royal Ballet.

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

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

Appointed Associate Director of The Royal Ballet in 1952, Ashton succeeded Dame Ninette de Valois as Director from 1963 to 1970.

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.

First Performed by The Royal Ballet 23 January 1940 First Performed by The Sarasota Ballet

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

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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, Saint-Säens, and Borodin.

In Vienna, the young Liszt studied piano with Czerny and composition with Salieri. By the age of nine he was giving concerts and composing. In 1827, 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 to 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.

SOPHIE FEDOROVITCH

Designer

Anglo-Russian designer Sophie Fedorovitch (1883-1953) was a key figure in British ballet. She is best remembered for her collaborations with Sir Frederick Ashton, including his first ballet A Tragedy of Fashion in 1926, and subsequently Les Masques, Mephisto Valse, Le Baiser de la fée, Nocturne, Symphonic Variations, and Orpheus and Eurydice, among others. In addition, she created designs for La Traviata and Madama Butterfly for the Covent Garden Opera Company (later The Royal Opera). Born in Minsk to Polish parents, she studied art in Kraków and on graduation returned to Russia before emigrating to the West in 1920. She became a British citizen in 1940. Her collaborations with Ashton played a crucial part in the development of British ballet. Ashton dedicated A Month in the Country to her memory, and wrote “Her method of designing seemed to be a process of elimination, clearing the stage of all unnecessary and irrelevant details.”

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; 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 Sarasota Ballet; The Shakespeare Suite for Ballet West; and Stanton Welch's Powder for Houston Ballet.

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THE SPIDER'S FEAST Created in 1997, David Bintley's The Spider's Feast was originally choreographed for The Royal Ballet School as part of the celebrations for its Golden Jubilee, with Founder Dame Ninette de Valois herself, in her hundredth year at the time, in attendance. Set to the music of Albert Roussel's 1913 "ballet-pantomime" Le Festin de l’araignée, the ballet whimsically transports audiences to a bustling garden of wasps, caterpillars, and their fellow insectoids, while an arachnid menace surreptitiously stalks his prey. Bintley says, “I have long wanted to re-choreograph this testing student piece for a professional company. Only performed a handful of times by The Royal Ballet School, I believe the ballet has a movement potential hitherto undiscovered and a level of subtle comedic characterisation which is very difficult to achieve by students. I am therefore delighted that I am being given this opportunity by The Sarasota Ballet to realise my ambition in this revised choreography with new designs by Dick Bird."

MANTIS

Choreography by Music by Costume Design by Lighting Design by

DAVID BINTLEY

David Bintley Albert Roussel Dick Bird Aaron Muhl

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 in the North of England. He has gone on to be one of the major players in British ballet: first as a marvelously musical and entertaining character dancer with what was then the Sadler’s Wells Royal Ballet; and now for over twenty years as director of the company it became, Birmingham Royal Ballet. Throughout this time, Bintley has become one of the most distinguished neoclassical choreographers of the modern age.

Bintley trained throughout his early teens in all branches of dance and theatre and at sixteen won a place at The Royal Ballet Upper School. A contract at SWRB followed, and before long he was delivering gold-standard interpretations of such characters as Ugly Sister in Ashton’s Cinderella, Alain and Widow Simone in Ashton’s La Fille mal gardée, Bottom in Ashton’s The Dream, and the title role in Petrushka for which he won an Olivier Award.

It was in 1978, thanks to SWRB’s sharp-eyed director, Sir Peter Wright, that Bintley received his first choreographic 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 at Covent Garden.

In 1995 he took over as Director from Wright at the Birmingham Royal Ballet, while from 2010 to 2014 he was concurrently artistic director of the National Ballet of Japan.

Bintley’s works are as plentiful as they are varied, and include such diverse ballets as The Flowers of the Forest (1985) Allegri diversii (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 tenure with the Birmingham Royal Ballet hasn'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 as well as rescuing ballets considered ‘lost’, like Ashton’s Dante Sonata and De Valois’ The Prospect Before Us.

First Performed by The Royal Ballet School 15 July 1997

Having achieved extraordinary success with one of Britain’s greatest dance institutions, Bintley stepped down in 2019 after 24 years as Director of the Birmingham Royal Ballet in order to focus on his greatest joy, choreography. As Bintley looks to the future, and as companies around the world reach out to bring his choreography to their dancers and audiences, the legacy he has created in Birmingham and indeed for British Ballet continues to burn brightly.

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ALBERT ROUSSEL

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Composer

Born in 1869 in northeastern France, Albert Roussel was raised by his grandfather and then by an aunt after the early deaths of his parents.

Although showing signs of musical prowess, he first chose a career at sea, becoming a naval cadet at fifteen and as a young man commanded a torpedo ship in the Far East. But drawn to music, at twenty-five he resigned from the navy and soon began studying at the Schola Cantorum in Paris under Vincent d’Indy. While still a student there he began teaching counterpoint, his pupils including Eric Satie, Edgard Varèse, and Georges Auric.

While the first of his four symphonies shows d’Indy’s influence, works like Evocations (1911), based on his travels in South Asia, and The Spider’s Feast (1912) increasingly reflected Impressionism. Despite ill health, in World War I he served first in the Red Cross and then in the artillery, during which he completed his opera-ballet Padmâvatî, using Indian scales.

Following the war he was increasingly drawn to neoclassicism, with increased rhythmic vitality and elements of polytonality. In addition to chamber and orchestral works, he wrote two more ballets, Bachus et Ariane (1931) and Aenéas (1935), a comic opera, and many songs before his death in 1937.

DICK BIRD

Designer

Dick Bird‘s designs for ballet include Aladdin for Birmingham Royal Ballet; The Firebird for the National Ballet of Japan; The Nutcracker and Swan Lake for Star Dancers, Tokyo; La Bayadere for K-Ballet Tokyo; Summertide for The Sarasota Ballet; and The Canterville Ghost for the English National Ballet.

Designs for opera include La Donna del Lago for The Royal Opera House; The Pearl Fishers for English National Opera and The Metropolitan Opera, New York; From The House of the Dead for Opera North; Street Scene for Teatro Real; Beatrice et Benedict and Der Freischutz for L’Opéra Comique; Nabucco for the Opera National de Lorraine; and Nixon in China for the Royal Danish Opera.

In the theatre he has designed Hamlet and La Grande Magie for the Comédie Francaise; La Comédie des Erreurs for Theatre Vidy; Twelfth Night and The Tempest for Teatr Polski, Warsaw; The Hudsucker Proxy for Nuffield Southampton and Liverpool Everymay, for which he won a UK Theatre Best Design 2015 award; Light for Complicité; The Walls, Owen Meany, and The Night Season at the National Theatre, London; Othello and As You Like It for Shakespeare's Globe productions; and The Mikado for Scottish Opera.

For Kate Bush, he designed the sets for Before the Dawn at Hammersmith Apollo, and for Sa Dingding, Wo De Xiao Huoban in Xi'an.

M AY F LY

WA S P

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CONDUCTORS “ 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

ORMSBY WILKINS | Music Director of American Ballet Theatre Conducting this Season for Symphonic Tales and Beyond Words

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 this Season.

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.

STILIAN KIROV | Guest Conductor

Conducting this Season for John Ringling's Circus Nutcracker A First Prize winner at the “Debut Berlin” Competition in 2017 and a prizewinner at Denmark’s 2015 Malko Competition, Stilian Kirov is Music Director of three prestigious music organizations: The Bakersfield Symphony Orchestra in California; New Jersey’s Symphony in C, one of America’s premier orchestras for young professionals; and—since the 2017-18 Season—the Illinois Philharmonic Orchestra. Recipient of the Solti Foundation U.S. Career Assistance Award in 2016, 2017, 2018 and 2019, Mr. Kirov continues to build upon his previous successes as Associate Conductor of the Seattle Symphony and Associate Conductor of the Memphis Symphony.

In 2017, Kirov made his conducting debut at the historic Berlin Philharmonie and has been in high demand in the United States and around the world. In the past few seasons, Kirov has appeared with the Thüringen Philharmonic Orchestra - Germany, Victoria Symphony - Canada, State Hermitage Orchestra - St. Petersburg, Xi’An Symphony - China, Minas Gerais Philharmonic - Brazil, Israel Camerata, Omaha Symphony, West Virginia Symphony, Leopolis Chamber Orchestra/Ukraine, Orchestra of Colours - Athens, Orchestre Colonne - Paris, Sofia Philharmonic Orchestra - Bulgaria, and Zagreb Philharmonic - Croatia, among others.

Kirov served as Assistant Conductor to Bernard Haitink with the Chicago Symphony and a Cover Conductor for the Boston Symphony. A graduate of The Juilliard School’s conducting program in the class of James DePreist, Kirov was invited to further his studies at the summer festivals in Aspen, Tanglewood, and Chautauqua. Among his other numerous awards and prizes, includes an Emmy for the Memphis Symphony’s Soundtrack Project, the Orchestra Preference Award, and third prize at the 2010 Mitropoulos Conducting Competition. Also a gifted pianist, Kirov was the gold medalist of the 2001 Claude Kahn International Piano Competition in Paris.

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2019 - 2020 SEASON B A L L E T F O U N DAT 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 Theme and Variations and Western Symphony, 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.

In the Night is performed by permission of The Robbins Rights Trust.

Sir Kenneth MacMillan's Las Hermanas is performed by kind permission of Deborah, Lady MacMillan.

Sir Frederick Ashton's Romeo & Juliet is performed by kind permission of Peter Schaufuss and the Sir Frederick Ashton Rights Holders Trust.

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

SIR FREDERICK ASHTON'S

ROMEO & JULIET A L A S TA I R M A C AU L AY

Few passages in classical music are better known than the number in Prokofiev’s Romeo and Juliet at the Capulet ball, the one often called the Dance of the Knights. Brass instruments, playing low in their registers with massive power, announce a slow, gargantuan ground bass alternating between two heavy, steady chords – oom, pah, oom, pah. Next, over that foundation, the strings sweep up and down in a thrilling, pulsating melody in iambic rhythm.

Prokofiev meant this to be a dance of proud patriarchy and male domination. If there are any shrews among the Capulet women, this dance shows that the men mean to tame them. It’s a sensational piece of music – but how do you choreograph such a hit? Most productions show the Capulet men striding heavily forward on the brass beat: left, right, left, right on the oom, pah, oom, pah. Later, their womenfolk join them, like falcons answering their falconers’ call. In the old Leonid Lavrovsky production, first staged by the Bolshoi Ballet in 1946, Lord Capulet and other men each carried a large cushion, which they placed upon the floor: Lady Capulet and other ladies advanced to kneel in marital fealty. (This is why it’s also been called “the pillow dance”.)

The British choreographer Frederick Ashton, however, remains unique in turning this musical number into a dance that uses serious ballet steps. And his Romeo is alone in responding to those fast-moving strings here as well as the slow, processional brass. How does he bring this off? When that Capulet music starts, Paris, the 138

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Capulet suitor for Juliet’s hand, strides forward, alone, to that brass bass; but then, as the strings course up and down, he jumps repeatedly on the spot, in one of the most famous steps in ballet’s vocabulary (one that the Royal Danish men executed with particular clarity): entrechat-quatre.

His feet keep criss-crossing in the air, like blades.

As the phrase ends, this Capulet noble rounds the sequence off with two massive, defiant upward arm gestures: to execute them, he twists his whole torso with intense glamour, so that, even while facing front, he presents us with the back of, first, one shoulder and then the other.

All powerfully on the beat, of course. Then, as the music repeats, all the Capulet men stride forward and deliver a choral version of Paris’s solo. We are the Capulets: who would dare to cross us? Quite splendidly, they proclaim who and what they are: a scintillating image of ballet masculinity, gleaming in the air like armor.

The ballerina Margot Fonteyn, looking back on decades of working with Ashton, observed that Ashton really listened to all of the music where most other choreographers merely heard one layer. (She never danced his Romeo, alas.) This Capulet dance, so much dancier and more original than any other staging of the familiar music, is a perfect example. Prokofiev didn’t really plan his Romeo as a classical ballet. Large parts of it are

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the best film music ever written, fabulously colorful; but they lack the light rhythms that characterize the ballets of Delibes, Tchaikovsky, and Stravinsky and that help match ballet’s footwork.

Ashton, a dance classicist through and through, went against Prokofiev’s grain by finding hidden dance elements in it – or rather he went deep inside the grain, producing a ballet that makes us hear the music better.

Ashton (1904-1988) was at the top of his form when he made this Romeo in 1955. He had begun to choreograph in 1926; the word “genius” began to be applied to him during the 1930s; by the end of the 1940s, his ballets were making powerful impacts across the Western world.

Throughout the 1950s and 1960s, he and his contemporary George Balanchine (1904-1983), based in London and New York respectively, were recognized as the two dominant choreographers of Western ballet; they brought ballet classicism to peak after peak in ways that have never been surpassed by their successors, and in masterpieces that continue to enrich international ballet repertory. Although Ashton’s home company was the Royal Ballet at Covent Garden (known as the Sadler’s Wells Ballet until 1956), the 1950s were a decade in which he also worked internationally. He created new ballets for companies from New York to Milan, using music by a

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range of twentieth-century composers - Britten, Prokofiev, Ravel. At home in London, he commissioned scores from composers from Hans Werner Henze (the three-act Ondine, 1958) to the nineteenth-century masters Delibes, Glazounov, Tchaikovsky.

He made this Romeo for an older Royal Ballet, the marvelous Danish company in Copenhagen, with its inspiring array of enduring Romantic ballets made in the mid-nineteenth century by August Bournonville (1805-1879). The “Royal Danes,” as they are still known in English, were a company of marvelous dance-actors with exceptional prowess in the brisk, buoyant aspects of ballet technique. In his Romeo, Ashton drew particular inspiration from Bournonville’s rich, tight-packed dance phrases, and from the company’s wealth of male virtuoso technicians. In

most ballet Romeos, Paris does little but look handsome and demonstrate chivalrous devotion while partnering Juliet and wooing her. In Copenhagen, however, Ashton was able to turn Paris and several other male characters into characters whose challenging steps are part of their striking individuality.

Prokofiev (1891-1953) had begun the Romeo score twenty years earlier, in 1935; he then revised it until it achieved success in 1940 with its first full-length stage production, choreographed by Leonid Lavrovsky for the Kirov Ballet of Leningrad (known today by their original names: the Mariinsky Ballet of St Petersburg).

In 1946, Lavrovsky adjusted his version for the flagship company of Stalin’s Russia, Moscow’s Bolshoi Ballet, with whom it became a modern legend. In the postwar era, the Lavrovsky Romeo became the most glorious example of “dramballet,” the Soviet Russian genre of narrative ballet.

Vividly invoking the Italian Renaissance in its décor and costumes, and fueled by dance acting of potent Stanislavskian realism, this production fulfilled the Stalinist ideal: its Russian music and Russian choreography persuasively conveyed subject-matter that inspired and moved its audiences. When it first appeared in the West, it was hailed as a thrilling example of total dance theatre. It didn’t, however, have much dance: the New York dance critic Edwin Denby likened it to “an opera sung with total laryngitis”.

For Ashton, by contrast, dance - serious, sustained dancing - had to be at a ballet’s core. He had already successfully choreographed Prokofiev’s later three-act ballet Cinderella in 1948; no other Cinderella has endured with such success. Now he became the first Western choreographer to stage this Romeo score. People in the West had heard plenty about the Lavrovsky Romeo, but it had not yet been performed on any Western stage; and so Ashton felt free to impose his own vision upon the music.

Shakespeare’s Romeo and Juliet is a play about poetry and wit. It begins with the Capulet servants brandishing their wordplay; from there, the levels of educated badinage keep climbing. And Shakespeare makes Romeo and Juliet his play’s most brilliantly poetic characters. Although they are attracted by each other’s looks, they immediately express this attraction by means of their virtuoso instinct for metaphor, rhetoric, scansion,

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and rhyme. With their first verbal exchanges, they make one sonnet; then at once they begin another. Choreographers, since they work with steps and movement, cannot give us the dance equivalent of these Elizabethan words; but Ashton’s steps at once capture the courteous interplay between these young people. His Juliet and Romeo from the first show the same delight in refined utterance: amid the ball, they’re kindred spirits.

Their poetry, nonetheless, does not preclude or screen their sexual passion. Ashton made his characters express their feeling throughout their bodies: Juliet begins the balcony scene by writhing from the center of her back. She may be an aristocrat, but she’s an animal too: she’s both Renaissance scholar and headstrong rebel.

This Romeo shows the many ways in which Ashton was a master of all ballet’s resources. Two of these are gesture and tableau. In Act Three, when Juliet finally consents to marry Paris, she allows her father to join her hand to Paris’: it’s the conventional gesture for betrothal. Prokofiev has

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arranged a slow buildup of quiet chords there, expressing the gradual accumulation of Capulet pressure on Juliet; with each chord, Ashton makes the tableau more massively impressive as Lord and Lady Capulet and the Nurse take their places around the joining of the hands, as in a family photo. Then, however, Prokofiev adds a louder chord to show Juliet’s anguish - which Ashton captures by having Juliet, unseen by her parents, fling her left arm and head back in silent misery. Then Prokofiev resolves the situation with one last quiet chord. There’s only one person who sees Juliet’s pain: her Nurse. Ashton, matching that subdued chord, has the Nurse take that left hand of Juliet’s and press her cheek to it, in gentle consolation. By such strokes does Ashton knit music and character tightly together.

Ballet has a long tradition of separating formal dance (steps) and mime gesture (silent acting).

Ashton, the greatest master of ballet mime in the twentieth century, knew perfectly how to do so: his two-act ballet La Fille mal gardée beautifully alternates between the two genres of movement. Yet his Romeo shows how he could also make connect dance steps and acting gestures.

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In an earlier Act Three scene, Juliet is still refusing to accept Paris as her husband, despite her father’s command. Prokofiev fills this scene with musical motifs. We hear again the heavy brass for Lord Capulet and Paris, while Juliet is accompanied by the quick music we heard for her Act One entry: her quickness now has a new touch of temper. Most choreographers make this a scene of silent acting, flat-footed, with Lord Capulet thundering one way and Juliet defying him another; but Ashton, responding to the speed in Juliet’s music, makes her rush across the room in a series of furious piqué turns: “piqué” means stepping directly onto point, and Ashton times this formal ballet step so that her toe arrives with the music’s downbeat, driving insistently with the force of a hammer.

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In another return of this music, she even stamps her foot – but Ashton turns even this into a ballet step, relevé retiré passé, in which she keeps rising onto point and returning to flat foot.

Usually, relevé retiré is a step that emphasizes upwardness, lightness; yet Ashton here inverts its dynamics. The emphasis is on her two feet coming down to the floor together, fast and emphatically: one of them plunges from kneelevel percussively. Her heels meet the beat as they meet the floor, again and again. Although it’s an academic ballet step, it’s also a teenage girl using her feet to exclaim “No! No! No!” There used to be a theatre saying that you could only know how to act Juliet when you were at least twice Juliet’s age. In 1955, Ashton cast the older Mona Vangsaae (1920-1983) as Juliet, her husband Frank Schaufuss (1921-1997) as

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Mercutio, and the young Henning Kronstam (1934-1995), at the start of a prestigious career, as Romeo. Thirty years later, when Ashton revived the production for London Festival Ballet in 1985, Romeo was Peter Schaufuss, son of the Schaufuss-Vangsaae marriage, born in 1949 and now London Festival Ballet’s artistic director. (As a boy in Copenhagen, he had danced the Nurse’s pageboy.) By contrast, Juliet was Katherine Healy, twenty years younger; Ashton, who referred to her as “the American whizzkid,” relished her fleet way she rushed headlong into the movement.

And Ashton in 1985 made changes, adding new material or revising scenes. Like everyone else who saw the Bolshoi’s Romeo, he had been amazed by its Juliet, the great ballerina Galina Ulanova. She was in her forties when she danced Juliet in London, but she became a fourteenyear-old with astonishing naturalness. And her most celebrated feat was the naturalness with which she could making the acts of walking and running full of expression. In particular, her runs along the front of the stage to and from Friar Laurence’s cell in Act Three - the first in anguish, the second in inspiration - became part of her legend. Almost thirty years later, Ashton recaptured that quality as if he had been saving it in a bottle. Katherine Healy in other respects was nothing like Ulanova; but her runs to and from Laurence’s cell, so different from each other but both so impetuous, brought the house down because Ashton, in his early eighties, had helped her discover the Ulanova secret.

This ability to conjure the essence of a bygone dancer or a historical character was one aspect of Ashton’s genius. (His 1968 ballet Enigma Variations was about the composer Elgar and his circle in 1898. When Elgar’s daughter, now ninety, saw it, she told Ashton “I don’t know how you’ve done it. They were all absolutely like that.”

This Romeo shows many other aspects of genius: the way it penetrates the layers of Prokofiev’s music, the originality with which it connects classical steps with character and emotion, the poetry of its dances. The ballet world abounds in diverse versions of Prokofiev’s Romeo and Juliet, some of them impressive and handsome. But no other ballet Romeo repays repeated viewings as well as Ashton’s; no other ballet Romeo has so many layers.

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WEDU PBS is re-broadcasting past seasons of A Gulf Coast Journal in honor of host Jack Perkins to remember a friend, colleague, and towering presence in the Tampa Bay community.

You can also watch episodes of A Gulf Coast Journal at video.wedu.org/show/gulf-coast-journal

wedu.org

Ch. 3.1, FiOS 503, Spectrum 1003, Xfinity 440

This Emmy® Award-winning series is underwritten by

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 a half hours. There is no charge but advance reservations are required.

Call today and reserve your free tour.

941.228.9899 | SBCbackstagetours@gmail.com www.sarasotaballet.org/friends W W W.S A R A S OTA B A L L E T.O R G

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

Shop Online Anytime: www.MichaelsWineCellar.com

ADMINISTRATION

SARA ROBINSON

KRISTIE COX

CHAD MORRISON

JASON ET TORE

Director of Development

Finance Director

Senior Development Officer

Marketing Director

941.359.0099 x 104 srobinson@sarasotaballet.org

941.359.0099 x 121 kcox@sarasotaballet.org

941.359.0099 x 113 cmorrison@sarasotaballet.org

941.359.0099 x 105 jettore@sarasotaballet.org

LAUREN STROMAN

EDWARD LEVESQUE

ROD KELLY

AMY HERNDEN

BARBARA EPPERSON

Development Officer

Company Manager

941.359.0099 x 110 lstroman@sarasotaballet.org

941.359.0099 x 107 elevesque@sarasotaballet.org

Box Office and House Manager 941.359.0099 x 101 boxoffice@sarasotaballet.org

Events and Engagement Manager 941.359.0099 x 119 ahernden@sarasotaballet.org

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

RICHARD AMATO

MEYBIS CHAVARRIA

TINA TAYLOR

AMY MILLER

KATHERINE KNOWLES

Marketing Assistant

Video and Graphic Designer

Box Office Assistant

Finance Assistant

Grants Manager

941.359.0099 x 129 ramato@sarasotaballet.org

941.359.0099 x 128 mchavarria@sarasotaballet.org

941.359.0099 x 127 ttaylor@sarasotaballet.org

941.359.0099 x 100 amiller@sarasotaballet.org

941.359.0099 x 119 kknowles@sarasotaballet.org

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Supporting the Arts with Print, Marketing, and Mailing Solutions

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Proud Printers of the Proud Printers of the 2019 -2020 SHOWNOTES 2019 -2020 Program Book 1500 N. Washington Blvd. • Sarasota, Florida 34236 • 941-366-0755

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

PRODUCTION

BILL ATKINS

JERRY WOLF

AARON MUHL

MARK NOBLE

FRANCESCA MACBETH

Technical Director

Head of Wardrobe

Lighting Designer

Production Stage Manager

Production Stage Manager

ANASTASIYA POFF

ZARA BAROYAN

JAMES JORDAN

Rehearsal Pianist

Class Pianist

Company Teacher

Photography in the 2019 - 2020 Season Program Book

Frank Atura

Dance Photography

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Matthew Holler

Portrait Photography

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EDUCATION CHRISTOPHER HIRD |

Education Director

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 Youth America Grand Prix, the Japan Grand Prix, the Surrey Festival of Dance (Canada), 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.

DIERDRE MILES BURGER |

Assistant Education Director

Born in Burlington, Massachusetts, Dierdre Miles Burger began her formative dance training with Margaret Prishwalko Fallon and subsequently the Boston Ballet School. In 1974 she joined Boston Ballet, where she would dance countless principal roles in the classical and contemporary ballet repertory. She was particularly known for her portrayal of Juliet in Romeo and Juliet, the Sugar Plum Fairy in The Nutcracker, and the Principal Stomper in Twyla Tharp’s Brief Fling.

In June of 1993 Ms. Miles Burger retired from performing and joined Boston Ballet’s Artistic Staff. In September 2002 Ms. Miles Burger was appointed Principal of Boston Ballet School. Certified in the dance notation method Labanotation, Ms. Miles Burger was also on the faculty of The Boston Conservatory from 1991 until 2001.

In the summer of 2006 she left Boston Ballet to move to Florida, where she continued to teach and coach on a freelance basis. During this time Ms. Miles Burger became an ABT® Certified Teacher, successfully completing the ABT® Teacher Training Intensive in Primary through Level 7 of the ABT® National Training Curriculum (ABT NTC) and was later appointed to the prestigious Board of Examiners for the curriculum. She has expanded that role to include adjudicating ABT NTC exams as well as teaching the ABT NTC Teacher Training Course. In addition, she has served on the jury for several ballet conventions and competitions including Youth America Grand Prix regional semi-finals and New York City finals.

In July 2010 she was appointed Director of Orlando Ballet School, serving there for eight years until August 2018. Under her leadership Orlando Ballet School grew and developed programming, most notably the Orlando Ballet School Academy which develops young dancers for professional careers. In June 2019 Ms. Miles Burger was appointed Assistant Education Director at The Sarasota Ballet. She looks forward to sharing her years of experience to further the growth of The Sarasota Ballet School and The Margaret Barbieri Conservatory.

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EDUCATION

LISA TOWNSEND

LAUREN TAYLOR

SUE PETERSON

PATRICIA STRAUSS

SARAH KRAZIT

Dance – The Next Generation Program Director 941.359.0099 x 126 ltownsend@sarasotaballet.org

Education Administrator

Head of Children’s Program

Full-Time Faculty

941.359.0099 x 120 ttaylor@sarasotaballet.org

941.359.0099 x 125 speterson@sarasotaballet.org

pstrauss@sarasotaballet.org

Full-Time Faculty, Education Assistant 941.359.0099 x 125 skrazit@sarasotaballet.org

DAVID EICHLIN

MELANIE VELAZQUEZ

MARLENA ABAZA

ELIZABETH WEIL BERGMANN

HEIDI BREWER

DNG Enrichment Coordinator deichlin@sarasotaballet.org

DNG Activity Assistant mvelazquez@sarasotaballet.org

Part-Time Faculty

Part-Time Faculty

Part-Time Faculty

MARIAH COHEN

JULIANA CRISTINA

ALEXEI DOVGOPOLYI

ERIN FLETCHER

YSEULT LEGER

Part-Time Faculty

Part-Time Faculty

Part-Time Faculty

Part-Time Faculty

Part-Time Faculty

SARAH METZLER

MONESSA SALLEY

SARA SCHERER

KAREN SHAPIRO

JEAN VOLPE

Part-Time Faculty

Part-Time Faculty

Part-Time Faculty

Part-Time Faculty

Part-Time Faculty

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PRE-PROFESSIONAL PROGRAM The Margaret Barbieri Conservatory is a pre-professional program designed to prepare students for a career in classical ballet with The Sarasota Ballet and other national and international companies. The Conservatory is led by Christopher Hird, Education Director, and Dierdre Miles Burger, Assistant Education Director, and overseen by Margaret Barbieri, Assistant Director of The Sarasota Ballet. With an exceptional instructional staff who are committed to excellence, they provide the highest quality dance education in order to provide students with the technique and artistry needed to succeed in the world of dance.

Students ages 11-19 are accepted by audition only and receive a carefully planned curriculum with small class sizes, allowing for individual attention. Their knowledge of the art form is nurtured by master classes from visiting guest teachers along with professional development lectures, and a wellness team that provides valuable support to the students. Former students are now dancing with The Sarasota Ballet and other ballet companies around the United States and abroad.

WELCOME TO NEW ASSISTANT EDUCATION DIRECTOR In June 2019, Dierdre Miles Burger joined The Sarasota Ballet family as Assistant Education Director. Dierdre brings a wealth of experience in working with young dancers, having been Principal of Boston Ballet School, Director of Orlando Ballet School, and is on the Board of Examiners for American Ballet Theatre’s National Training Curriculum. Ms. Burger will be overseeing the Conservatory as well as taking an important role in all Education programs.

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TRAINEE AND EXCHANGE PROGRAM A new Trainee Program was launched in 2018 for talented students who are preparing for their first steps as professional dancers. Our Trainees have extensive performing opportunities and get to work alongside The Sarasota Ballet and Studio Company, plus they receive guidance in preparing resumes and videos for auditions. We also have a student exchange program with Canada’s National Ballet School and Royal Danish Ballet School.

PA R T N E R S H I P S We launched a new partnership in 2018 with Key Chorale, Sarasota’s Symphonic Chorus, where our Trainee students perform with the chorus at the Sarasota Opera House. This year they will be presenting Stella Natalis choreographed by Sarasota Ballet Principal dancer and Assistant Ballet Mistress, Kate Honea. We also continue our valuable partnerships with The Sarasota Youth Opera and the Sarasota Music Conservatory for our annual Images of Dance performance in April.

O F F I C I A L YO U T H A M E R I C A G R A N D P R I X PA R T N E R S C H O O L We are thrilled to be one of a select number of official schools recognized by YAGP for providing quality training for the pre-professional student. This will allow us to bring in more students from farther afield, and young dancers will now be able to choose us as their destination ballet school.

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THE SARASOTA BALLET SCHOOL The Sarasota Ballet School provides a comprehensive dance education while inspiring a lifelong love of dance. Through a progressive curriculum, our experienced and qualified professional faculty fosters each student’s individual development.

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

All our students from ages 3 and above have the opportunity to perform twice a year. In December, we present a Winter Wonderland and each May the students get a chance to be part of a story ballet. Last year we brought to life the beautiful words of Beatrix Potter in Peter Rabbit and Friends. In 2020, we will be going down the rabbit hole in the children’s classic Alice in Wonderland.

NEW STUDIOS In January 2019, we opened our stunning new location in the vibrant Rosemary Square district. Boasting two beautiful studios and a waiting area for parents, we now have a real home at last. It is wonderful to see the facility buzzing with parents, children, and adult students alike.

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CHILDREN’S PROGRAM AND ROYAL ACADEMY OF DANCE Led by Sue Peterson, the Children’s Program offers our youngest students a fun and creative approach to discovering the joy of dance. Classes are taught by our qualified faculty, experienced in child development, and enable children to develop coordination and motor skills, while making new friends. In 2018 we began a new program, Hand in Hand, for 2 year olds and their parents/guardians.

We continue to be one of only a handful of schools in Florida allowed to offer the Royal Academy of Dance examinations. We have had a 100% success rate every year and we celebrate the students’ achievements with a medal and certificate ceremony at the end of the year.

F I R S T F R I DAYS The first Friday of every month between September and May, we open the Rosemary Square studios to parents and the general public. Each month we showcase students performing excerpts from upcoming events or simply what they have learned by being a Sarasota Ballet School student. It’s always standing room only as we bring the art of dance to our local community.

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SUMMER AT INTERNATIONAL INTENSIVE Our 5-week summer program was renamed the International Intensive in 2017 to reflect both the faculty and student body who are from all over the world. The International Intensive allows talented students from ages 12-20 an opportunity to study 6 days a week and perform on stage in the Mertz Theatre at the Florida State University’s Center for the Performing Arts. Housed at The Margaret Barbieri Conservatory, for many it is their first experience being away from home and we make sure the students are welcomed and looked after.

Every January we run an audition tour all over the USA in search of students for the International Intensive. Exceptionally talented students are offered merit scholarships and we also welcome competition winners from around the world. In 2019 our student body represented 19 different US States and from as far afield as China, Denmark, Japan, and Brazil.

Resident students stay at the Hampton Inn and Suites and are chaperoned by Resident Coordinators. Each weekend there are excursions organized which this year included a trip to see The Royal Ballet in HD, Busch Gardens, and the always popular Boat Cruise around the harbor of Sarasota.

This summer, the students had the special privilege of working with both Iain Webb and Margaret Barbieri who coached the top-level ladies in variations from Raymonda. Two girls were chosen to perform the variations at the program’s final performances. These are a highlight for the students and showcase a mix of repertoire from classical ballet as well as work created specially for the students by our outstanding faculty.

Students are chosen from the International Intensive to join the Margaret Barbieri Conservatory and Sarasota Ballet School. For the 2019-20 school year, 7 students have become year-round students.

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THE BALLET SUMMER CAMPS Designed for our youngest students, our week-long Summer Camps in 2019 were very popular with our local community. For the first time they were held in our beautiful new Rosemary Square studios – a definite highlight for parents who could watch their children learning new skills and building new friendships.

The Summer Camps are divided into two age groups – Step into Ballet for 4-7 years, and the Children’s Summer Dance Camps for 8-11 years. This year we offered different themes each week, tailored to inspire children to discover the joy of dance through creative movement. From ‘Dancing through the Ages’ to ‘All Around the World’, our qualified teachers led the children through classes in ballet, creative movement along with costume design, arts and crafts and story time.

We were delighted that local author, Dianne Ochiltree allowed us to use two of her books as themes for our Summer Camps. It’s a Seashell Day and It’s a Firefly Night had the children bringing these magical stories to life through movement. It was wonderful to see the children leave at the end of each day smiling and excitedly sharing what happened during camp with their parents.

The Summer Camps allow our year-round Sarasota Ballet School to keep dancing through the summer, but we also welcomed students from Sarasota, Bradenton, and Venice who had never danced before. An experience like a Summer Camp can be life-changing for children who discover that they love to dance and many students joined The Sarasota Ballet School this fall.

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DANCE – THE NEXT GENERATION Dance – The Next Generation (DNG) was founded in 1991 by Jean Weidner Goldstein with the goal of nurturing the development of the entire individual with emphasis on discipline, self-esteem, and the desire for higher education. With an initial class focus on classical ballet, the program expanded in 2001 to also include jazz, composition, and other elements of dance.

Today, DNG provides so much more. This entire program is free of charge to the students’ families, with The Sarasota Ballet providing full scholarships to Title 1 school children most at risk of dropping out of school. In addition to dance instruction, students are picked up after school in DNG vans, transported to dedicated facilities, provided with healthy snacks in partnership with All Faiths Food Bank, receive dance clothes and shoes free of charge, and complete an hour of mentor-supervised homework in classrooms and computer labs.

D N G G R A D UAT E S CO L L E G E A N D U N I V E R S I T Y M AT R I C U L AT I O N Ave Maria University Bethune-Cookman College Central Texas College Coker College Florida A & M University Florida Atlantic University Mountain State University Florida Gulf Coast University Florida State University Goucher College Jersey College of Nursing Keiser Career College Kennesaw State University Liberty University New World School of the Arts

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New York University Roosevelt University Santa Fe Community College State College of Florida Tallahassee Community College University of Central Florida University of Florida University of Maryland University of Miami University of North Florida University of South Florida, Sarasota-Manatee University of Tampa Valencia Community College

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DNG MAKES A DIFFERENCE Each year a new class of students join, with total enrollment between 150 and 180 students for this now 10-year program. This unique opportunity is provided to third through twelf4th grade students regardless of background, ability, or financial status in order to foster an appreciation for the arts, a passion for learning, and to strive for their personal best. In sixth grade students have access to further college scholarships and mentoring through our connection with Take Stock in Children Sarasota.

Upon completion of the program and graduation from high school, academically eligible students are able to apply for a special DNG-specific scholarship to the State College of Florida, or receive special guidance through the scholarship program at the University of South Florida Sarasota-Manatee.

As 2008 Graduate Ronnica Robinson says: “As an adolescent, Dance – The Next Generation taught me the importance of achieving my goals. Today, the art of commitment is what I’ve integrated in every area of my life.

As a wife, a mother of twins, career driven and also active in my community, I show up to all roles with the intention of giving my all. To see the best in myself and in those around me is my motivation to keep going!”

PA R T N E R O R G A N I Z AT I O N S Please Join Us In Thanking The Following Organizations:

Photography by Fred Doery W W W.S A R A S OTA B A L L E T.O R G

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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.

We offer four levels of classes with a progressive curiculum, taught by faculty who are knowledgable and experienced in working with adult students. Students with no dance experience are welcome to join our Absolute Beginner Class. The weekly schedule allows adult students the flexibility to drop in whenever they like.

A D U LT P O I N T E C L A S S In 2019 we introduced a pointe class specially tailored for the adult learner.

Students with at least 3 years of experience may take our Adult Pointe classes.

WEEKEND WORKSHOPS A special opportunity for adult students to dance over a long weekend, learn repertoire from The Sarasota Ballet and meet other adult dancers from around the country. The workshops are held in October and March, and include a ticket to see a Company performance.

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941-315-2114 | robleslawpa.com

Michael Levy, MD, FACS, FACC

Board Certified: Cardiac, Thoracic & General Surgeon

PRACTICE DEVOTED TO VENOUS DISEASE 2401 University Parkway, Suite 203 Sarasota, FL 34243

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UPCOMING

E V E N T S

November 13, 2019 FEDERATION CELEBRATION/ANNUAL MEETING December 16, 2019 WOMEN’S DAY with Gail Simmons December 19, 2019 FEDERATION’S NEWCOMERS EVENT • BRADENTON

December 2019 – April 2020 PEOPLE OF THE BOOK AUTHOR SERIES January 13, 2020 FEDERATION’S NEWCOMERS EVENT • SARASOTA

February 25, 2020 MAJOR GIFTS EVENT with Deborah Lipstadt February 25, 2020 COMMUNITY LECTURE with Deborah Lipstadt March 11 – 22, 2020 11TH JEWISH FILM FESTIVAL March 26, 2020 WOMEN’S PASSOVER CELEBRATION

jfedsrq.org/events

2019–2020

December 25, 2019 TRADITION! A FIDDLER ON THE ROOF SING-ALONG

January 16, 2020 LION OF JUDAH & POMEGRANATE LUNCHEON with Alina Spaulding

OUTREACH E nr i ch

Engage

Ed u c ate

The Sarasota Ballet prides itself on making the arts accessible to all ages and demographics in the local community. Through our many engagement programs, we reach thousands of people each year.

LOCAL SCHOOLS Every October, more than 1,700 third grade students from Sarasota and Manatee County Schools attend a performance at the FSU Center for the Performing Arts. This is often children’s first exposure to dance and the cost for all tickets and transportation is covered entirely by The Sarasota Ballet. A study guide for teachers is created to allow students to fully benefit from the experience.

This year we are bringing a new program to our schools – Gwendolyn, the Graceful Pig. Narrated by the book’s author, David Rottenberg, our Margaret Barbieri Conservatory Trainees will bring the book to life and reach over 3,000 students from as far afield as Anna Maria Island and Port Charlotte.

We also regularly teach Master Classes at Booker High School, Manatee Performing Arts School, and North Port High School.

COMMUNITY PERFORMANCES Each year students from The Sarasota Ballet School, The Margaret Barbieri Conservatory, and dancers from The Sarasota Ballet Studio Company perform at a wide range of community events. In 2018-19 these included: Inspire Sarasota at Five Points Park, University Town Center Mall, Florida Watercolor Society, North Port High School Dance Invitational, and the Rosemary Square Overtown Heritage Day. We are privileged to be one of the arts partners with Marie Selby Botanical Gardens. Last year we performed a special evening as part of Gauguin Nights and also were the featured entertainment at Selby’s New Year’s Eve celebration.

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OUTREACH E nr i c h

Engage

Educate

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 year, former Paul Taylor Principal dancer and stager for Brandenburgs will give a lecture on the genius of Mr. Taylor’s work.

EDUCATION FOR ALL Dance is for everyone, whatever their age or demographic. Each year we present lecture demonstrations at many senior living centres throughout the community. Last year we inspired countless adults at Plymouth Harbor, Pelican Cove, Desoto Palms, Bay Village, Adult and Community Enrichment Center and Osher Lifelong Learning Institute at Ringling College.

This year we will be partnering with Neuro Challenge to offer a new program - Dancing through Parkinson’s. Led by The Sarasota Ballet’s Principal Dancer and Assistant Ballet Mistress Kate Honea, this program will allow the PD community to enjoy an exploration into the world of ballet through movement, creativity, and music.

In addition we will be offering the Royal Academy of Dance’s Silver Swans to the over 55 community – allowing older people to enjoy a different kind of exercise centered around the beauty of ballet.

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FRIENDS OF THE SARASOTA BALLET 2019 - 2020 S E A S O N

YOUR SPECIAL INVITATION

Photography by Shirley Blair

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 Margaret Barbieri Conservatory • Receive a Member Reward Card to obtain selected discounts • Through your volunteer efforts, learn more about how the Company works

Jean Volpe interviewing Marcelo Gomes, Ricardo Graziano, & Ivan Duarte

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 2019 - 2020 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 drop-out 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 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

STANDING COMMITTEE CHAIRS OUTREACH Andi Lieberman Carolou Marquet

630.862.4681 941.355.1842

COMMUNICATION Jane Sheridan

508.367.4949

RESERVATIONS Phyllis Myers

941.360.0046

SPONSORSHIP DEVELOPMENT Laurie Feder

203.952.7617

THEATRE SUPPORT Melliss Swenson

941.951.6319

941.358.9426 941.351.4408 941.475.6475

DANCERS’ SUPPERS Peggy Sweeney Laurie Fitch

941.242.2554 941.925.7391

941.922.8498

EDUCATION LIAISON Bruce Ensinger

740.228.1464

VOLUNTEER COORDINATOR Barbara Fischer Long

561.573.6868

SPECIAL EVENTS Donna Maytham Colleen Curran

941.351.5361 312.339.6003

SPECIAL SERVICES Linda Glover Katie Couchet

MEMBERSHIP Betty Ferguson

r 941.497.7841

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

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Injured?

Justice

For Injury Victims Throughout Florida

Bernie Walsh

Bradenton - Sarasota

(941)

752-7000

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 are a vibrant part 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 Ken & Peggy Abt Priscilla Adams Kay Aidlin Caroline Amory Richard & Patricia Anderson Betty & Roland Anthone Elaine & Robert Appel Chris & Natalie Armstrong Carol Arscott Ruth A Barker Gaele Barthold Jocelyn E. Baskey Isabel A. Becker Rhoda & Herb Beningson Kacy Carla Bennington Bonnie & Richard Berner Charlotte Bimba Barbara Blackburn Shirley Blair Barbara Blumfield Lydia Bohn Robert Boyd Cynthia T. Brasington Arline Breskin Susette T. Bryan Beverly & Michael Budin Kristine Bundrant Chris & Jon Butcher Diana Cable Judy Cahn Paul Cantor & Michelle Roy Peter & Judy Carlin Alexander & Irene Cass Frank Cerullo Lynn C. Chancer Marsha Chernick Barbara Chertok Victoria & Frank Chester Barbara Chin Dale Horowitz Clayton Saul & Naomi Cohen Jonathan Coleman Juanita Connell Evelyn & Glenn Cooper Gail Conway Pat Corson

Katie Couchot Sandra Cowing Donna Swoyer-Cubit Colleen Curran Donna Marie D’Agostino Jacqueline & Harold D’Alessio Lucille R. D’Armi-Riggio Susan Loren Davidson Gail Davies James & Leila Day Louis DeFrancesco & Anne Heim Kay Delaney & Murray Bring Dolly Delvecchio JoAnne DeVries Robert de Warren Diane DiBenedetto Lynda Doery Angela Dolorico Barbara Dubitsky Dr. Laila Ebert Linda Elliff Douglas Endicott Bruce Ensinger & Clark Denham Barbara E. Epperson Sharon Erickson Laura Feder Shirley Fein Patricia D. Fennessey Elizabeth Ferguson Sandy Fink Beverly Fisher Yvette Fishman Laurie Fitch Bert Fivelson Marjorie Floyd Karol Foss Elaine Foster Suzanne Freund Mikal H. Frey Jennifer Gemmeke Jerry Genova & Bob Evans Kathryn Gibby Jacqueline Giddens Susan Giroux Linda A. Glover Nancy Gold Marilyn R. Golden

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Ellen Goldman Faith Goldman Patricia Golemme Kathryn Goodwin Sue M Gordon Dr. James Griffith & Barbara Sanderson Bob Griffiths & David Eichlin Debbie Grovum Sue Guarasci Carol Ann Hallinger Renee Hamad Barbara & Julian Hansen Barbara Harrison Kathryn Harvey Charlotte Hedge Audrey Heimler Donald Helgeson Martha Hennes Florence Hesler Carl & Anne Hirsch Laurie Hofheimer Carolyn Ann Holder Cory-Jeanne Houck-Cox Jean & Peter Huber Barbara Hyde Carol Hyde Arlene H. Irons Vlatka Ivanisevic Barbara Jacob & Karen Lichtig Barbara Jacoby Janet G. Jacobs Barbara Jarabek Richard Johnson Susan Kaye Johnson Alison Jones Anne Jones Merrill Ann Kaegi Deborah R. Kalb Marcia Katz Ken Keating Carolyn Keidel Ann & Pat Kenny Joseph Kerata & Lynne Armington Barbara Kerwin Joan Kiernan Marlene Kitchell

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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

nydancewear.com A discount dancewear website featuring

Capezio • Body Wrappers • Bloch • Mirella Sansha • Veronese • Motionwear • K.D. Dance Grishko • So Danca • BalTogs • Gaynor Minden Dance Paws • M. Stevens • Freed • Leo’s Stephanie Ballroom • Gia Mia • etc.

Call for Customer Service 800 775 DANCE Dancers work here.

THE PERLMAN MUSIC PROGRAM / SUNCOAST 60+ events throughout the year!

eason

2019-2020

TICKETS ON SALE NOW! Visit PerlmanSuncoast.org

Juilliard String Quartet Only Florida appearance this season!

December 2, 2019 • 7 PM • Sarasota Opera House: 941-328-1300

PMP Sarasota Winter Residency

December 19, 2019 - January 4, 2020

Celebration Concert

January 4, 2020 • 5 PM • Sarasota Opera House

PMP Alumni String Quartet Performances November - February - April

941-955-4942 PerlmanSuncoast.org

Michael & Robin Strauss Mary S Klimasiewfski Pat Klugherz Philippe Koenig Beverly Koski Peter E. Kretzmer Jane Kritzer & Carol Cermenaro Robert Ladieu & David Hamilton Anita Lambert Gail Landry Harriet K. Lane Joan Langbord & George Hollingworth Jean Shorr Langhaug Cynthia Larson & Gary Westerberg Marianne Lauria Alan Lenowitz Iris Leonard Judith Levine Marlene & Hal Liberman Cynthia Lichtenstein Andrea Lieberman Tina & Rick Lieberman John F. Lindsey William & Annette Lloyd James Long & Barbara Fischer Long Dr Erin and Kathleen Long Jan Lovelace George B. Ludlow Francine Luque Meg Maguire Richard & Helen March Carolou & Lou Marquet Dr. Albert & Marita Marsh Mary Lee Martens & Charleen Alper Katherine Martucci Jean Martin Barbara Mask Peter & Teresa Masterson Joan Mathews Donna Maytham Helen McBean Mary McGrath Leanne McKaig Mary Jane McRae Jennifer Meinert Diane Miller Sandra Miranda Jean A Mitchell Mary Mitchel

Raymond & Maralyn Morrissey Paul & Karen Morton Phyllis Myers Linda Neal Martha Naismith Nicolla Newall Gene Noble Marilyn Nordby Mercedita OConnor Catherine Olsen Conrad & Lenée Owens Jeannette Paladino Helen Panoyan John Pascale Diane Paver Cynthia & Barry Pearlman Virginia & Stuart Peltz Colette Penn Sharon Petty Susan Peterson Bernard & Elaine Pfeifer Julie Planck Fannie Porter Richard Prescott & DJ Arnold Rose Marie Proietti Diane A. Quincy Jimmye Reeves Rebecca Reilly Pam Reiter Mary Jo Reston Richard Reston & Brenda Griffiths Cheryl Richards Dr. Heidi Riveron Rachel Rivli & Manuel Goldberg Audrey Robbins & Harry Leopold Anne Roberts Sara Curtis Robinson Margot & Jack Robinson Terry & Susan Romine Sydell Rosen Sally Ross Dr. Jack & Lenore Rubin Marcia & Sidney Rutberg Beverly Ryan Marilyn Sachs Larry Sage Phyllis Schaen Barbara (Bobbye) Schott Dennis & Cheryl Schiavone Michael Score Eda T. Scott Carol & Erwin Segal

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John & Carole Segal Tracy Seider Micki Sellman Elizabeth Shalett Jane Sheridan Murray & Abby Sherry Jean B. Simon Rita Sinaiko Carole & Ira Singer Paul & Turbi Smilow Carol & Tom Smith Irene Stankevics Hillary Steele Maureen & Thomas Steiner Judilee Sterne Louise Stevens George J. Straschnov, MD Catherine Strongman Ann Sundeen Peggy Sweeney Kurt & Meliss Swenson Virginia & Dee Tashian Joan Tatum Marcia Jean Taub & Peter Swain Veronica & Michel Tcherevkoff John Teryek Carolyn Thompson Janet Tolbert Niels & Marianne Trulson Helene & Phillip Tucker Mary Kay Urell Susan Valentine Karen Vereb Joseph & Jean Volpe Lauren Ann Walsh Tom & Gwen Watson Judith Waxberg Jean A. Weiller Myrna & Jeremy Whatmough Kim Wheeler Laurie Wiesemann Florence Wildner Edie Winston Elizabeth Wolfe Betsy Wollman Pauline Wood & Wesley Spencer Merrill & Sheila Wynne Betty York Michael Zuckerberg Dr. Elaine Zwelling

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Tax | Assurance |

Advisory Services

www.MJCPA.com

Everything else pales in comparison.

INTERNATIONAL CHAMBER MUSIC FESTIVAL

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

Concert Series April 2, 6, 10, 13 Sarasota Opera House The finest musicians from around the world present both familiar and unusual chamber music.

Open Rehearsals March 31-April 13 Sarasota Opera House Discover how notes come together to form a musical masterpiece and how musicians make this happen.

Meet the Musicians April 3 Dolphin Aviation Hangar Mingle with the musicians and enjoy a mini concert in the hangar. Wine and light bites are served.

(941) 907-8300 | 6270 Lake Osprey Drive, Sarasota 34240 www.lakewoodranchdental.com DENTAL IMPLANTS | COSMETIC | PORCELAIN VENEERS | LASER DENTISTRY | PEDIATRIC photo/Frank Atura

More events & tickets: LaMusicaFestival.org • 941-366-8450 ext. 7

Artistic Director Leymis Bolaños Wilmott

2019-2020 SEASON

GROWING

LARGER PHOTO BY SORCHA AUGUSTINE

OCT 10-13 Voices - Rising Choreographers DEC 5-8 SCD + Reverend Barry & The Funk JAN 30 – FEB 2 Dance Makers APR 30 – MAY 3 Evolving/Revolving TICKETS: Sarasota Ballet Box Office | 941.359.0099 SarasotaContemporaryDance.org

DOCTOR’S CIRCLE 2019 - 2020 S E A S O N

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.

ACUPUNCTURE

EYES

PHYSICAL THERAPY

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

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

CHIROPRACTIC

INTERNAL MEDICINE

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

Dr. Jared A. Winters Florida Chiropractic & Rehabilitation Clinics 1918 Robinhood Street Sarasota, FL 34231 941.955.3272

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

Dr. Lars Eric Larson 3560 S Tuttle Avenue Sarasota, FL 34239 941.363.6744 DENTAL

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

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

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

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

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

ORAL AND MAXILLOFACIAL SURGERY Todd J. Reuter, DMD, MD Sarasota Oral & Implant Surgery 2130 S Tamiami Trail Sarasota, FL 34239 941.365.3388 ORTHOPAEDICS

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

NEUROLOGY

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

OBSTETRICS & GYNECOLOGY

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

PODIATRY

David A. Sugar, MD Sugar Orthopaedics 1921 Waldemere St. Sarasota, FL 34239 941-556-6900 Dr. John T. Moor Advanced Sports Medicine Center 2446 S Tamiami Trail Sarasota, FL 34239 941.957.1500

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

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ADVERTISERS INDEX 1st Source Bank 43 Allegiant Private Advisors 22 Ameriprise Financial Services, Inc. - David Yarletts 172 Art To Walk On - Fine Oriental Carpets 50 Artistry Sarasota - Kolter 24 Bart Price, M.D. - Concierge Medical Services 59 Bijou Café 166 BMO Private Bank 3 Bodywise Physical Therapy 85 Bookstore 1 Sarasota 50, 144 Burke Antiques 50 CAN Community Health 41 Caragiulos Italian American Restaurant 50 Caroline C. Amory, Realtor ® 66

Charlotte’s Grace Fine Linens & Luxe Home Accents Church Of The Redeemer Collins Interiors, LLC Community Foundation of Sarasota Cresswind Lakewood Ranch - Kolter Crews Bank & Trust Cumberland Advisors Dabbert Gallery Fine Painting & Sculpture Designing Women Boutique Dex Imaging - Document Technology Donte’s Den Foundation Eurotech Cabinetry, Inc. Florida Chiropractic & Rehabilitation Clinics Florida Studio Theater

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.

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2019 – 2020 S E A S O N

50 50 88 6 24 51 35 51 68 146 70 10 90 51

Flowers by Fudgie 148 Goldman, Babboni, Fernandez and Walsh 166 Gulf Coast Community Foundation Inside Front Gulfshore Personalized Care 45 Hornberger Wellness & Chiropractic 161 J.L. Bainbridge | John Leeming, CFP 39 Jewish Federation of Sarasota-Manatee 161 La Musica 170 Lakewood Ranch Dental 170 Lemon Tree Gallery 51 Matthew Holler Photography 168 Mauldin & Jenkins, LLC 170 Meg Krakowiak Contemporary Art Gallery & Studio 51 Michael’s on East 64 Michael’s Wine Cellar 146 Morton’s Gourmet Market 90 Neuro Challenge Foundation, Inc. 90 New Balance / Fleet Feet Sports / Molly’s! Boutique 136 New York Dancewear Company, LTD. 168 Nicky’s Restaurant 51 Observer Media Group 20 Paradise Kitchens SRQ 30 Parker Group - UBS Financial Services 168 Path Financial LLC 45 Perlman Music Program Suncoast 168 Peter G. Laughlin / Premier Sotheby’s 8 Peter G. Magnuson / Financial Advisor 47 Plymouth Harbor - Retirement Community 14 Podiatrist Dr. Robert F. Herbold 136 Robert Toale and Sons Funerial Home 43 Robles Law, P.A. 161 Rudd International, Inc. 88 Rugs as Art - Area Rug Superstore 47 Sarasota Bay Club - Retirement Community 2 Sarasota Contemporary Dance 170 Sarasota Magazine 59 Sarasota Opera 134 Sarasota Orchestra 134 Selva Grill 4 Serbin Printing 148 Southeastern Guide Dogs 12 Strategic Marketing Resources, Inc. 66 Studio South Fitness 72 Suncoast PearlWealth Group - RBCWealth Management 70 Susan H. Weinkle, M.D.- Dermatologist 166 Susan M. Sloan, O.D. - Advanced Vision Care 166 Susan T. Wilson - Morgan Stanley 68 Take Care Private Duty Home Health Care 136 The Ritz - Kolter Inside Back United Vein Centers 161 WEDU 144 Wilde Automotive Family 26 Williams Parker Harrison Dietz & Getzen Back Cover Willis A. Smith Construction, Inc. 144 WUSF 148

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

ALWAYS EN POINTE Grand Waterfront Residences. Legendary Lifestyle.

A proud sponsor of the Sarasota Ballet, Kolter is pleased to present the

all-new Ritz-Carlton Residences, Sarasota. Now soaring to completion on the downtown Sarasota Bayfront, these grand waterfront residences welcome you to a lifestyle of panoramic water views, unparalleled

amenities, endless resort pleasures and legendary Ritz-Carlton service.

Prime Residences Remain • New Waterfront Residences from $2.4 Million • Move in Next Season 1111 Ritz-Carlton Drive | Sarasota, Florida 34236 • 941-202-6926 | 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”). 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.

Prudent PLANNING. ARTFUL GIVING.

W E A LT H P R E S E R V A T I O N

C H A R I TA B L E G I V I N G

FIDUCIARY SERVICES

T R U S T S & E S TAT E S

BUSINESS SUCCESSION

G E N E R AT I O N A L P L A N N I N G TA X P L A N N I N G

FLORIDA RESIDENCY

Williams Parker Harrison Dietz & Getzen 200 South Orange Avenue | Downtown Sarasota | (941) 366-4800 | WilliamsParker.com