30th Anniversary 2020-2021 Season Program Book

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2020 - 2021

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T H

A N N I V E R S A R Y

S E A S O N


THE ARTS

IMAGE: TIM JAEGER

GULFCOASTCF.ORG/25


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THE SARASOTA BALLET’S

2020 - 2021 SEASON

DIGITAL PROGRAM 1 23 - 27 OCTOBER 2020 Featuring extracts from the choreographic works of Sir Frederick Ashton

DIGITAL PROGRAM 4 29 JANUARY - 2 FEBRUARY 2021

DIGITAL PROGRAM 2 20 - 24 NOVEMBER 2020 Featuring extracts from the choreographic works of George Balanchine

DIGITAL PROGRAM 3 1 - 5 JANUARY 2021 Featuring extracts from the ballets of various choreographers

DIGITAL PROGRAM 5 26 FEBRUARY - 2 MARCH 2021

Paul Taylor's BRANDENBURGS

George Balanchine's DONIZETTI VARIATIONS

Paul Taylor's COMPANY B

Ricardo Graziano's AMOROSA

DIGITAL PROGRAM 6 23 - 27 APRIL 2021 Sir Frederick Ashton's VALSES NOBLES ET SENTIMENTALES Sir Frederick Ashton's THE WALK TO THE PARADISE GARDEN Sir Frederick Ashton's FAÇADE

DIGITAL PROGRAM 7 21 MAY - 25 MAY 2021 Sir Frederick Ashton's BIRTHDAY OFFERING Twyla Tharp's NINE SINATRA SONGS

Front Cover Photography By Matthew Holler | Katelyn May and Ricardo Rhodes 1


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IAIN WEBB DIREC TOR

On behalf of everyone at The Sarasota Ballet, I would like to welcome you to our 30th Anniversary Season. While this certainly is not how we had envisioned celebrating this important milestone, we are excited to bring you this innovative Season filled with beautiful ballets. Anniversary Seasons are a perfect opportunity to take stock of where we came from, where we are today, and where we will be in the future. While the world outside may seem more than a little chaotic, we must remind ourselves of all that has come before, all the trials that we have overcome, and indeed, grown from. This pandemic is no different, and through the extraordinary support and generosity we have received, alongside the hard work and determination of our staff and dancers, we will come out the other side stronger than ever before. Across the world, the performing arts are in danger, which makes what we have all achieved together these past months all the more remarkable. The outpouring of support, from the thousands of ticket donations through to the amazing financial support of our Emergency Fund, allowed us to continue through the first months of this pandemic in a way we did not think possible. Through your generosity we were able to financially support all our dancers through the end of their contracts last Season, and with the additional help of an incredible anonymous donor, we were able to continue this support from the start of this Season as well. Additionally we’ve been able to provide free virtual classes for hundreds of our students, and in July provide a safe environment for over 50 students from across the United States to learn from our talented faculty at our International Intensive. For this, and for so much more, I want to personally thank each and every person who has supported us through these extraordinary times. Looking back over the past 3 decades, there is so much to celebrate and so many important individuals to recognize and thank. However, there are three particular people who we all owe a great deal to, for without them, The Sarasota Ballet would not be here today. They are of course, Jean Weidner Goldstein – our Founder, Eddy Toussaint – the Company’s first Director, and Robert de Warren – who stewarded The Sarasota Ballet for 13 Seasons. While this Company has changed a great deal throughout the years, the one thing that has always remained consistent is our passion for dance and our astonishing community. I greatly look forward to sharing this season with you all, it has been an honor working alongside the entire Company to bring our 30th Anniversary Season to life during this unprecedented time. Together with all the dancers and staff, we want to take this moment to thank the extraordinary Joseph Volpe and Margaret Barbieri for their incredible support and work in guiding us back onto the stage. Together we are strong, 30 years strong in fact. And united, we will ensure that The Sarasota Ballet continues to dance, now and forever.

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JOSEPH VOLPE EXECUTIVE DIREC TOR

Due to Covid-19, The Sarasota Ballet’s 30th Season looks very different than what was planned. However, there are many things to be thankful for. At the end of last Season, there was a true coming together of our Trustees, staff, donors, patrons, students, and company dancers. We launched the Emergency Fund which created a way for us to support our dancers through the end of the 20192020 Season. It is because of the tremendous support of all our donors that the Ballet can continue dancing into this season. With the ever-changing guidelines from local, state, and national health officials, we have put our primary focus on the safety of our dancers, staff, and patrons. We have moved to a virtual format for our Season. Making this decision was not easy or simple. Director Iain Webb had to completely re-structure all seven Programs. Therefore, all the contractual and artistic planning had to be revised to make digital and streaming content possible. Our Staff has pursued new technologies and new ways to problem solve. Seeing everyone working together as a team has been truly inspiring. Last Season our Trustees, staff, and executive leadership worked together on a new 3-year strategic plan that will allow the entire organization to achieve new heights. From exciting artistic endeavors, through the expansion of our education programming, to increased community involvement, being a part of The Sarasota Ballet family is more rewarding than ever. The Sarasota Ballet strives to be a cornerstone of the Sarasota community. There are so many people to thank: Chair Dick Johnson, Vice Chair Patricia Golemme, and President Frank Martucci. They have been incredible leaders on our board and in this community. Our many committee chairs have provided advice and stewardship throughout these last many months. I expect great things from our new advisory council, and their involvement will help the organization to succeed in the future. Lastly, in times such as these, it is important to tell each and every one of you how much your support means to The Sarasota Ballet. While this Season is not what any of us envisioned, we have forged ahead and laid the groundwork for an incredible year. We look forward to sharing our Season – and our vision for the future – with all of you.

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Season THE OBSERVER’S GUIDE TO THE ARTS AND SOCIETY

We all know things will look a little differently this season, but don’t worry, we’re here to help make the best of it. See which events are virtual or in person, and get tips on how to enjoy them to their fullest — even if it is in the comfort of your home. Plus, get cocktail recipes, takeout options and the 411 on the philanthropy scene. It’s everything you need to support your favorite local organizations at a distance.

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

How wonderful it has been to be back in the studio, with our dancers rehearsing and performing in the Digital Programs. They are all amazingly dedicated, and we have been very careful to work them back slowly upon their return to the studio, practicing social distancing in classes and in rehearsals. Never could we have expected such an enormous change to our 30th Anniversary Season, and the necessary adjustments to our rehearsal and performance procedures have been a significant undertaking; nevertheless, we all maintain a passionate determination to create another beautiful year of ballet. The career of a ballet dancer can often be a preciously fleeting thing. In the best of circumstances, a couple decades on stage might transition naturally to a career of coaching the next generation of dancers, crafting new choreographic endeavors, or preserving ballet history through administration and academia. I address this because, given the tumultuous nature of these recent months, the loss of a year to a dancer can be catastrophic. With that in mind, the sheer resilience our dancers are demonstrating during this interlude never ceases to impress me. Their tenacity through these arduous times makes their commitment ever apparent, and their eagerness to return to the stage is evidenced in their summer activities – whether adhering to stringent self-administered training regimens, or exploring more personal physical and creative outlets. Our Company dancers have shown that they are collectively determined to endure this crisis. On a related note, Iain and I are so proud of how readily our dancers have engaged with the challenges of performing for our Digital Season. Ballet performed to an audience of cameras can take on a vastly different feel as a dancer, compared to doing so in front of hundreds, even thousands, of live audience members, dynamically reacting to every subtle gesture in real time. The recording process also requires certain technical adjustments and modified lighting, all of which can be jarring to a dancer unconditioned to performing in such an environment. I also wish to recognize and thank our production and technical staff, who have worked tirelessly and diligently to ensure our Digital Season truly represents the beauty of the art form. Now that our 30th Anniversary Season is underway, we are all adjusting to safer rehearsal practices while preserving the artistry of the medium. It may still feel vaguely unorthodox rehearsing with social distancing protocol in mind, but the Company has adhered to the necessities of the present day without hesitation, and with their fellow dancers’ utmost well-being in mind. After all, they are simply too aware of the importance of adaptation and agility to seize every moment, as time is all too finite.

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RICHARD JOHNSON BOARD CHAIR

As Board Chair, I wish you a warm welcome to The Sarasota Ballet’s 30th Anniversary Season. In this challenging time, the Board and I are so appreciative of the exceptional support our community has provided to the Ballet. I am enormously proud with how the Ballet and its leadership have responded to the crisis. The Company has done a terrific job of taking care of its dancers throughout this time, and I believe has set an industry example across the world. Iain, Joseph, and Margaret have shown great integrity and courage during this time and have guided the company with grace and vigor. The innovation and ingenuity of our leaders are a testament to their years of experience, and the reason I have such confidence in the Company’s ability to not only endure, but to prosper. Speaking of prosperity, I am consistently reassured in the future of this Company. Not only do we have three remarkable directors, but we also have a very gifted and engaged Board of Trustees. Last year we created a new officer position, The President of the Board of Trustees. The purpose of this role was to strengthen communication between the Ballet and the Board. I am most pleased that fellow Trustee, Frank Martucci accepted this additional responsibility. With our Vice Chair Patricia Golemme, we look forward to working with Frank in his new capacity. I believe, together, we the Trustees will foster an ever-greater future for The Sarasota Ballet. Another important addition to the company is our newly founded Advisory Council, a group of individuals who are both a part of the Sarasota community and also passionate about The Sarasota Ballet. We believe that the talents, skills, and networks of these council members will enhance our leadership structure and help us reach further into the community. I would like to thank Ginger Cannon Bailey for chairing this committee, and at the same time, express my appreciation to all of our committee chairs for their leadership and commitment. As we look to the future, we are excited about the direction laid out by our 2020 Strategic Plan which was approved by the Board of Trustees last March. This new Strategic Plan focuses on four key areas over the next three years: artistic expansion, education and community programs, and audience development. I would like to thank and recognize Sara Robinson, our Chief Advancement Officer, for all her detailed work with the 2020 Strategic Plan. This is an exciting moment to be a part of The Sarasota Ballet. Even in these uncertain times, know that The Sarasota Ballet is better, stronger, and more committed to this community than ever before. Finally, I want to personally thank Iain, Joseph, Margaret, and my fellow Trustees for their support of me as Chair of the Board.

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JEAN WEIDNER GOLDSTEIN FOUNDER & CHAIR EMERITUS

For a performing arts organization to mark its 30th anniversary is a marvelous achievement; for one to reach the artistic heights that The Sarasota Ballet has in the last 13 years alone, is a true rarity. Although my dream was to build a European-style Company with an eclectic repertoire that would challenge both artists and audiences, I never imagined that the Company I founded and managed from my kitchen with a few close friends, could turn into one of America’s internationally recognized ballet companies under the inspired leadership of the Director, Iain Webb and his life partner and Assistant Director, Margaret Barbieri. From national tours to some of the most renowned dance venues in the United States and to glowing reviews in prestigious publications across the world, The Sarasota Ballet has accomplished feats and attained a reputation deserving of immense pride. With that in mind, I want to take this moment to recognize and thank the many hundreds of people who brought us to this moment. From my home, to our modest offices and studio at the Sarasota Mall, and onward to our arrival at the FSU Center for the Performing Arts, The Sarasota Ballet grew through the efforts and contributions of our myriad of donors, dancers, staff members, and volunteers. To individually thank every person would take an entire book of its own, but I wish to recognize early Artistic Directors Eddy Toussaint and Robert de Warren for their passionate stewardship of The Sarasota Ballet during its formative years. The artistic contributions of both generated the foundation on which The Sarasota Ballet could mount the Company’s meteoric trajectory under Director Iain Webb, and his brilliant artistic and management team. In addition, I want to celebrate two very special members of The Sarasota Ballet family who have been with the Company since its inception: Pavel Fomin, revered Russian Pedagogue and Ballet Master, and Barbara Epperson, Administrative Assistant and Board Liaison. They continue to play a vital role within The Sarasota Ballet and are treasured and dear friends. A shout out to our dynamic Company Executive Director, Joseph Volpe, formerly of the Metropolitan Opera House, who lends amazing support to Iain and Margaret’s artistic vision. With the addition of Sara Robinson, Chief Advancement Officer, the Ballet now has an extraordinary leadership team taking their management, production, marketing, and artistic personnel to new heights. To see this thirty-year amalgamation of knowledge, passion, and raw energy manifest as today’s incarnation of The Sarasota Ballet brings me boundless joy. Season after Season, Director Iain Webb has arranged diverse programming that challenges dancers as much as it dazzles audiences; to see the Company tackle this repertoire with such aplomb and artistic interpretation speaks volumes to the quality and dedication of everyone involved. I eagerly look forward to what the Company is destined to achieve, this 30th Anniversary Season and beyond.

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HISTORY OF THE SARASOTA BALLET 1987 The Sarasota Ballet was founded in 1987 by Jean Weidner Goldstein as a presenting organization with the goal of becoming a full resident ballet company, which was achieved in 1990 with the appointment of the Company’s first Director, Montreal-based choreographer Eddy Toussaint. Integrating the dancers of his existing ballet company, The Ballet de Montréal Eddy Toussaint, into the emerging Company, Toussaint launched The Sarasota Ballet with much of his own choreographic work, such as his Florida Suite and Cantates. Additionally, together with Goldstein, he oversaw the first students of Dance – The Next Generation, the Company's celebrated and fully scholarshipped program for at-risk children.

1994 Following a Season under the leadership of Jean Weidner Goldstein as Interim Director, Robert de Warren, former Director of Ballet at Teatro alla Scala Milan and Northern Ballet, took the mantle of Artistic Director. During his thirteen years with the Company, de Warren likewise focused on bringing his own choreographic creations to stage, creating 24 ballets including works such as Madam Butterfly and Last Call: The Dance. Additionally de Warren brought in ballets by other choreographers, as well as commissioning new works from artists such as Jim Buckley and Pavel Fomin.

2007 In January 2007, The Sarasota Ballet announced de Warren's retirement and the appointment of Iain Webb, who would take the helm as Director. That first Season would revolutionize The Sarasota Ballet and set the Company on a path to both national and international recognition. Heavily inspired by his career with The Royal Ballet and combined with his close personal relationships with some of the biggest names in the dance world, Webb brought extraordinary ballets to the Sarasota stage by some of the great choreographers of the 20th century.

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2016 In 2016, the renowned Joseph Volpe, former General Manager of the Metropolitan Opera, took on the role of Executive Director of The Sarasota Ballet. His mission has been to bring the organization's administrative staff and financial foundation to a level that matches the Company's artistic excellence. Over the past 4 years, Volpe has expanded the organizational structure of The Sarasota Ballet and strengthened the Company's future. Together with his wife Margaret Barbieri, Assistant Director and former Principal of The Sadler’s Wells Royal Ballet, Webb has introduced 154 ballets and divertissements through the 2019 2020 Season. This new repertoire has included works by some of the greatest choreographers in the dance world, such as Sir Frederick Ashton, George Balanchine, Antony Tudor, Sir Kenneth MacMillan, Michel Fokine, Sir David Bintley, Sir Matthew Bourne, and Christopher Wheeldon, to name only a few. Several of these ballets have received their American premieres with The Sarasota Ballet, and the Company has been integral in bringing rarely seen ballets to today’s audiences. In addition, The Sarasota Ballet has continued to push the art form forward through commissioning new works, from both budding choreographers within the Company and established choreographers around the globe.

PRESENT The Sarasota Ballet’s expansive repertoire, coupled with the athleticism and artistry of the Company’s dancers, has brought the Company national and international acclaim. With rave reviews in The

New York Times, The Washington Post, The Wall Street Journal, Dance Europe, Dancing Times, and numerous other publications, The Sarasota Ballet

has been invited to perform at the Kennedy Center in Washington, DC, at City Center and the Joyce Theater in New York City, and the Jacob’s Pillow Dance Festival in the Berkshires, Massachusetts.

Together, Iain Webb, Joseph Volpe, and Margaret Barbieri continue to grow The Sarasota Ballet both in its achievement and reputation.

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THE SARASOTA BALLET THANKS THOSE WHO HAVE GIVEN SO MAGNANIMOUSLY OVER THE LAST 30 YEARS

Our Special Angel Amicus Foundation Charles & Margery Barancik Foundation Community Foundation of Sarasota County Kay Delaney and Murray Bring Norbert and Ann Winslow Donelly Friends of The Sarasota Ballet Alfred and Ann Goldstein Foundation Jerome* and Sydney Goldstein Jean Weidner Goldstein Patricia Golemme and Timothy Fullum Gulf Coast Community Foundation Jim and Harley Hanrahan

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Julie A. Harris Huisking Family Fund of the Community Foundation of Sarasota County Elaine Keating and Dr. Sidney Katz Pat and Ann Kenny Ernie and Alisa* Kretzmer Harry Leopold and Audrey Robbins Harold* Libby and Wanda Rayle-Libby Frank and Katherine Martucci Muriel O'Neil Fund at the Community Foundation of Sarasota County Mercedita OConnor Roy* and Susan Palmer

Rubin Charitable Foundation Tourist Development Council of Sarasota County William G. and Marie Selby Foundation Bud and Betty Shapiro Shubert Foundation, Inc. Renee Silverstein* Hillary Steele Paul and Sharon Steinwachs Marcia Jean Taub and Peter Swain Ethel and Ron Taub* Jean Weiller Anonymous

* Deceased


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JEAN WEIDNER GOLDSTEIN Founder & Director 1993-1994

Former Principal with Stuttgart Ballet and former Artistic Director of Evansville Dance Theatre, Jean Weidner Goldstein founded The Sarasota Ballet in 1987 with the goal of becoming a full resident ballet company, which was achieved in 1990 with the appointment of the Company’s first Director, Eddy Toussaint. During the period of 1993-1994 she guided the Company as Interim Director until the appointment of Robert de Warren in 1994. Jean continues to offer her support and love to Director Iain Webb, who was appointed as third Director in 2007.

EDDY TOUSSAINT Director 1990-1993

In 1990 Jean Weidner Goldstein and the Board of Directors appointed the first Director of The Sarasota Ballet, Eddy Toussaint. Toussaint relocated with dancers from his company, Ballet De Montreal Eddy Toussaint, to form the nucleus of The Sarasota Ballet. Additionally, he oversaw the first class of Dance – The Next Generation, The Sarasota Ballet's fully scholarshipped drop-out prevention program. As The Sarasota Ballet celebrates our 30th Anniversary Season, we thank and recognize Eddy Toussaint for the passion and artistry he instilled during his tenure.

ROBERT DE WARREN Director 1994-2007

Robert de Warren, former director of Northern Ballet and Ballet at Teatro alla Scala Milan, took on the mantle of Artistic Director in 1994. During his 13 years with the Company, de Warren created 24 ballets on the The Sarasota Ballet, including works such as Madam Butterfly and Last Call: The Dance. Additionally, de Warren brought in ballets by other choreographers, as well as commissioning new works from artists such as Jim Buckley and Pavel Fomin. As The Sarasota Ballet celebrates our 30th Anniversary Season, we thank and recognize Robert de Warren for his leadership and creativity throughout his tenure.

BOARD CHAIRS 1990-Present

Bette Seigerman Patrick Donovan Edward Cheek Jeffery Giordano Richard Angelotti Christine Jennings Richard Trumpler

Joel Freedman David Berger William Jacobs Tana Sandefur Marianne Siegel Charles Knowles Jerry Chip

Sydney Goldstein Ronald Ciaravella Chris Pfahler Hillary Steele Richard Johnson

As The Sarasota Ballet celebrates our 30th Anniversary Season, we want to thank and recognize every board member and board chair that has served over the past 30 years. 17


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T H E S A R A S O TA B A L L E T ’ S

REPERTOIRE Sir Frederick Ashton Apparitions, Birthday Offering, La Chatte métamorphosée en femme, The Dream, Enigma Variations, Façade, La Fille mal gardée, Illuminations, Jazz Calendar, Marguerite and Armand, Meditation from Thaïs, Monotones I, Monotones II, Les Patineurs, Les Rendezvous, Rhapsody, Romeo & Juliet Balcony Pas de Deux, Scènes de ballet, Sinfonietta, The Sleeping Beauty Awakening Pas de Deux and Vision Solo, 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

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

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?

Dame Ninette de Valois Checkmate, The Rake’s Progress

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

Christopher Bruce Sergeant Early’s Dream James Buckley Anne Frank John Cranko Pineapple Poll Peter Darrell Othello Agnes de Mille Rodeo

Robert de Warren The Nutcracker [production] Flemming Flindt The Lesson Michel Fokine Les Sylphides, Petrushka Marcelo Gomes Dear Life... Martha Graham Appalachian Spring


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2007-2020 Matthew Hart Cry Baby Kreisler, John Ringling’s Circus Nutcracker, Tchaikovsky’s Ballet Fantasy Johan Kobborg Napoli Act III (after Bournonville), Salute Joe Layton The Grand Tour Sir Kenneth MacMillan Concerto, Elite Syncopations, Las Hermanas, Summer Pas de Deux Vaslav Nijinsky L’Après-midi d’un Faune (The Afternoon of a Faun) Robert North Troy Game Rudolf Nureyev Raymonda Act III Renato Paroni Rococo Variations Anna Pavlova The Dragonfly Solo 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 Yuri Possokhov Firebird

André Prokovsky Anna Karenina, Vespri Jerome Robbins The Concert, Fancy Free Galina Samsova Paquita [production] Peter Schaufuss La Sylphide pas de deux [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 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

RESIDENT CHOREOGRAPHER 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] 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


THE SARASOTA BALLET’S

BOARD OF TRUSTEES

RICHARD JOHNSON

PATRICIA GOLEMME

FRANK MARTUCCI

BOARD CHAIR

BOARD VICE CHAIR

PRESIDENT

PAT KENNY

JONATHAN STRICKLAND COLEMAN

MAUREEN STEINER

TREASURER

JEAN WEIDNER GOLDSTEIN FOUNDER & CHAIR EMERITA

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SECRETARY

GOVERNANCE

SYDNEY GOLDSTEIN

HILLARY STEELE

CHAIR EMERITA

CHAIR EMERITA


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ISABEL ANCHIN BECKER

PEGGY ABT

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GINGER CANNON BAILEY

PAUL CANTOR

LYNDA DOERY

JULIE A. HARRIS

PHIL LOMBARDO

TERESA MASTERSON

PETER B MILLER

ROSEMARY OBERNDORF

AUDREY ROBBINS

MICKI SELLMAN

HILLARY STEELE

JEAN WEILLER

MARK FAMIGLIO

DR. BART PRICE

HONORARY TRUSTEE

HONORARY TRUSTEE 23


THE SARASOTA BALLET’S

ADVISORY COUNCIL

MARYANN ARMOUR

JUDY CAHN

SANDRA DEFEO

FRANCES FERGUSSON

CHARLES HUISKING

ROBIN KLEINSTRAUSS

PETER E. KRETZMER

KAREN LICHTIG

CHRISTINE LIEBERMAN

RICHARD MARCH

JOAN MATHEWS

DONNA MAYTHAM

DR. JOEL MORGANROTH

MERCEDITA OCONNOR

GINGER CANNON BAILEY ADVISORY COMMITTEE CHAIR

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MARILYNN PETRILLO

ROSE MARIE PROIETTI

RICHARD SEGALL

JAN SIROTA

LOIS STULBERG

MARCIA JEAN TAUB

DAVID WELLE

LISA WICKS


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THE FACTS THE SARASOTA BALLET ARTISTRY & AUDIENCE

154

Ballets and Divertissements

52

Choreographers

39

World Premieres

13

American Company & American Premieres

9

National Tours

72

National & International Reviews

30,000

Audience Members A Year EDUCATION

200 Students The Sarasota Ballet School & The Margaret Barbieri Conservatory COMMUNITY

8500 People

80 Engagement Activities

3000 Students

Education & Public School Programs

160 Students

Dance – The Next Generation

96 Community Partners

Within Sarasota, Manatee, & Charlotte Counties

Numbers are pre-covid numbers based on a normal season

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THE SARASOTA BALLET

APRIL 18, 2021

Photo Credit Matthew Holler

ALA

CELEBRATING

THE 30th ANNIVERSARY SEASON

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30 TH ANNIVERSARY SEASON GALA SPONSORS PERFORMANCE SPONSOR Bud and Betty Shapiro DIAMOND SPONSORS Karol Foss Patricia Golemme and Timothy Fullum Julie A. Harris Frank and Katherine Martucci EMERALD SPONSORS Sydney Goldstein Gulf Coast Community Foundation Harry Leopold and Audrey Robbins Phil and Kim Lombardo Jean Weiller SAPPHIRE SPONSORS Charles & Margery Barancik Foundation BMO Private Bank Jean Weidner Goldstein JoAnn Heffernan Heisen Richard Johnson Pat and Ann Kenny Richard March Bill and Linda Mitchell Mercedita OConnor Stu and Gini Peltz Micki Sellman Hillary Steele Curt and Melliss Swenson Marcia Jean Taub and Peter Swain RUBY SPONSORS Bob and Ginger Cannon Bailey Paul Cantor and Michelle Roy Community Foundation of Sarasota County Peter G. and Patricia D. Laughlin Robin Klein-Strauss and Michael Strauss Peter B. Miller and Dr. Martha Harrison Tom and Maureen Steiner George Allison, ASID and Alan Watkins, ASID PEARL SPONSORS

Ken and Peggy Abt Maryann Armour Christopher and Natalie Armstrong Ronelle Ashby Shari and Steve Ashman Isabel Anchin Becker Jerry and Gay Bowles Barbara Brizdle James Brooks Judy Cahn

Canandaigua National Bank & Trust William and Bonnie Chapman Cumberland Advisors Neil and Sandra DeFeo Sona and David Degann Kay Delaney and Murray Bring Fred and Lynda Doery Murray Duffin Geraldine Fabrikant and Tim Metz Laura Feder Frances D. Fergusson and John Bradbury Jennifer Gemmeke Valerie Gill Jane C. Gould and Stephen W. Fillo Sherry and Michael Guthrie Renee Hamad Huisking Family Fund of CFSC D’Anne Hurd Barbara Jacob Phillip King Kenneth and Victoria Kolbe Tassana and Michael Landy Joan Switt Langbord Melvy Erman Lewis Tina and Rick Lieberman Peter and Teresa Masterson Joan Mathews Donna Maytham John and Mary Ann Meyer Gloria Moss Rosemary and Lou Oberndorf Dorothy O’Brien and Richard Antoine Kimberley Pelyk Charles and Charlotte Perret Pamela Revels Theda Bohrer Wendy & Tracey Charitable Foundation Thomas and Gwendolyn Watson David Welle and Rosemary Reinhardt Sheila and Merrill Wynne

MEDIA SPONSORS

Observer Media Group Sarasota Scene Magazine

GALA DONATIONS

Jonathan Strickland Coleman and Rick Kerby Wanda Garofalo Edward and Roberta Hamilton Henry and Ellen Mason Jack and Lenore Rubin Joan Volpe and Ronald Kluck Anonymous

Sponsors listed as of 10 March 2021

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LU M I NA RY C I R C L E $1 00 , 00 0 +

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JEAN WEIDNER GOLDSTEIN

SYDNEY GOLDSTEIN

In Loving Memory of Alfred Goldstein Digital Program 7

Digital Program 1

PATRICIA GOLEMME AND TIMOTHY FULLUM

ERNIE KRETZMER In Loving Memory of Alisa Kretzmer

Digital Program 4

The Margaret Barbieri Conservatory


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LU M I NA RY C I R C L E $ 100, 000 +

FRANK AND KATHERINE MARTUCCI

PAUL AND SHARON STEINWACHS

The Margaret Barbieri Conservatory

Digital Program 3; Live Music

JEAN WEILLER

OUR SPECIAL ANGEL

Digital Program 2

Digital Program 6

Gifts and photos are current as of 1 March 2021

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B E N E FA C T O R C I R C L E $7 5, 00 0 - $ 9 9 ,9 9 9

MARK FAMIGLIO

BUD AND BETTY SHAPIRO Digital Program 7

PAT AND ANN KENNY Digital Program 6

In Loving Memory of ROBERT AND JEANNE ZABELLE Digital Program 1

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GU A R D I A N C I R C L E $ 5 0 , 0 0 0 - $74, 999

JULIE A. HARRIS Digital Program 2

HARRY LEOPOLD AND AUDREY ROBBINS Digital Program 5

HILLARY STEELE Digital Program 3 Gifts and photos are current as of 1 March 2021

RICHARD JOHNSON In Loving Memory of Marsha Johnson Digital Program 1

MERCEDITA OCONNOR Digital Program 4

ELEANOR SCHMIDT AND BERT SCHWEIGAARD-OLSEN

ANONYMOUS

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CONNOISSEUR CIRCLE $2 5, 00 0 - $ 4 9 ,9 9 9

JAMES AND MARYANN ARMOUR FAMILY FOUNDATION

ISABEL ANCHIN BECKER Digital Program 3

Digital Program 4

ROBERT AND GAIL DAVIES

MICHAEL AND SHERRY GUTHRIE

Dance - The Next Generation

DAVID BELILES In Loving Memory of Ruth Beliles

HUISKING FAMILY FUND OF THE COMMUNITY FOUNDATION OF SARASOTA COUNTY Digital Program 1

ROBIN KLEIN-STRAUSS AND MICHAEL STRAUSS Digital Program 6 32

PHIL AND KIM LOMBARDO Digital Program 7

RICHARD MARCH In Loving Memory of Helen March Digital Program 5; Live Music


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CONNOISSEUR CIRCLE $ 2 5 , 0 0 0 - $49, 999

Digital Program 2

PETER B. MILLER AND DR. MARTHA HARRISON

MARILYN AND STEVE ROTHSCHILD

MICKI SELLMAN In Loving Memory of Jerry Sellman

Digital Program 5

Digital Program 4

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

JEAN VOLPE

CLAUDIA MCCORKLE AND BEAU

DR. BART PRICE

Digital Program 3

NOEL AND TOBY SIEGEL

MAT T AND LISA WALSH Digital Program 1

Digital Program 6 Gifts and photos are current as of 1 March 2021

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AFICIONADO CIRCLE $1 5, 00 0 - $ 2 4 ,9 9 9

PEGGY AND KEN ABT

PAUL CANTOR AND MICHELLE ROY

In Loving Memory of JOHN CARRIER

Digital Program 7

ELIZA P. CULVERHOUSE The Margaret Barbieri Conservatory

BARBARA JACOB Digital Program 6; Dance - The Next Generation

FRED AND LYNDA DOERY Digital Program 7

RICHARD AND CORNELIA MATSON

WILLIAM AND JANICE FARBER

DONNA MAY THAM In Loving Memory of Walter Maytham Digital Program 3

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AFICIONADO CIRCLE $ 1 5 , 0 0 0 - $24, 999

BILL AND LINDA MITCHELL Digital Program 2

ALISON GARDNER AND JAN SIROTA

DOROTHY O’BRIEN AND RICHARD ANTOINE

JANICE BINI AND DEAN SCARBOROUGH

Digital Program 4

Digital Program 4

TOM AND MAUREEN STEINER Digital Program 2

Digital Program 5

CURT AND MELLISS SWENSON Digital Program 1; Dance - The Next Generation

JARED WINTERS

Gifts and photos are current as of 1 March 2021

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PAT R O N C I R C L E $1 0, 00 0 - $ 1 4 ,9 9 9

SHARI AND STEVE ASHMAN Digital Program 4

BOB AND GINGER CANNON BAILEY

MARGARET BARBIERI Digital Program 7

Digital Program 5

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MURRAY BRING AND KAY DELANEY BRING

JUDY CAHN In Loving Memory of Charles Cahn

Digital Program 6

Digital Program 3

NEIL AND SANDRA DEFEO Digital Program 5

LAURA FEDER

KAROL FOSS

ELLEN GOLDMAN

Digital Program 7

Digital Program 3

Dance - The Next Generation


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PAT R O N C I R C L E $ 1 0 , 0 0 0 - $14, 999

JOANN HEFFERNEN HEISEN

RENEE HYMSON

In Loving Memory of David Lenihan

Digital Program 7

TINA AND RICK LIEBERMAN

Digital Program 6; Dance – The Next Generation

BILL AND ANNET TE LLOYD

KAREN GLORIO LUTHER Digital Program 7

Digital Program 4

PETER AND TERESA MASTERSON

WALDRON KRAEMER AND JOAN LOVELL

JOAN MATHEWS Digital Program 1

DRS. JOEL AND GAIL MORGANROTH Digital Program 1

Gifts and photos are current as of 1 March 2021

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PAT R O N C I R C L E $1 0, 00 0 - $ 1 4 ,9 9 9

ROSEMARY AND LOU OBERNDORF

STU AND GINI PELTZ

ROSE MARIE PROIET TI

Digital Program 5

Digital Program 7

Dance - The Next Generation

MARY JO RESTON

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In Loving Memory of FLORI ROBERTS

GAIL AND SKIP SACK

RICH AND CLARE SEGALL

LOIS STULBERG

Digital Program 1

Live Music

In Loving Memory of MASAYASU TAMATANI Digital Program 5; Live Music

Digital Program 2


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PAT R O N S C I R C L E $ 1 0 , 0 0 0 - $14, 999

THOMAS AND GWENDOLYN WATSON

DAVID WELLE AND ROSEMARY REINHARDT

ANONYMOUS

Dance - The Next Generation

Gifts and photos are current as of 1 March 2021

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DEVOTEE CIRCLE $5 , 0 0 0 - $ 9 ,9 9 9

GEORGE ALLISON, ASID AND ALAN WATKINS, ASID

ROBERT AND SARA ARTHUR

BETTY-JEAN AND DAVID BAVAR

WILLIAM AND BONNIE CHAPMAN

JONATHAN STRICKLAND COLEMAN AND RICK KERBY

GEORGIA COURT

DONNA CUBIT-SWOYER

BRUCE ENSINGER AND CLARK DENHAM

ELEANOR FABER

FRANCES D. FERGUSSON AND JOHN BRADBURY

LAURIE FITCH

THE FLETCHER FAMILY CHARITABLE FOUNDATION

HERMAN AND SHARON FRANKEL

RONALD AND MICKI H. GAMER

VALERIE GILL

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DONALD H. AND BARBARA K. BERNSTEIN FAMILY FOUNDATION


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DEVOTEE CIRCLE $ 5 , 0 0 0 - $9, 999

MATT AND KRISTIN GLAVIN

RENEE HAMAD

GERALD AND DEBORAH HAMBURG FAMILY FOUNDATION

DR. SIDNEY KATZ AND ELAINE KEATING

ANNE KLISURICH

PETER E. KRETZMER

LYDIA LANDA

PETER G. AND PATRICIA D. LAUGHLIN

BETTY MENELL

CARLA AND MICHAEL MILLER

GLORIA MOSS

EUGENE NOBLE

MARILYNN PETRILLO In Loving Memory of Marsha Johnson

Gifts and photos are current as of 1 March 2021

DONALD ST. CLAIR, JR. In Loving Memory of Donald R. St. Clair

JEREMY HAMMONDCHAMBERS AND JULES PRICE

JOHN AND RITA STEELE

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DEVOTEE CIRCLE $5 , 0 0 0 - $ 9 ,9 9 9

SALLIE CARTER TYLER

BETH UFFNER AND ROBERT GOLDFARB

FREMAJANE WOLFSON In Loving Memory of Blair Wolfson

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

SORA YELIN In Loving Memory of Cary F. Yelin

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WILLIAM AND KAREN WATT

RICHARD WIRES

SHEILA AND MERRILL WYNNE

ANONYMOUS

Gifts and photos are current as of 1 March 2021


Grow With Us. 30 T H A N N I V E R S A R Y S E A S O N 2020 – 2021

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Private Wealth . Asset Management . Institutional Investment Management

C A CUMBERLAND ADVISOR S

Investment Management Our private wealth practice offers institutional-level money management for individual investors, like you. Since 1973, we have been providing investment management service to institutional clients—independent nonprofits, foundations, qualified retirement plans and government entities. As a private investor, you can leverage that same independent and insightful expertise in the management of your portfolio. Call today to learn how our investment strategies can help you. A Registered Investment Advisory Firm Since 1973

800. 257. 7013 One Sarasota Tower, 2 N. Tamiami Trl; Ste. 303, Sarasota, FL 34236 | www.cumber.com

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GOLDEN & SILVER CIRCLES $3,000 - $4,999 | $1,000 - $2,999

GOLDEN CIRCLE

SILVER CIRCLE

Christopher and Natalie Armstrong Carol Arscott Jerry and Gay Bowles James Brooks Peter and Judy Carlin Vivian T. Dauber Revocable Trust John and Patricia Dupps Ronald and Sharon Erickson Graham and Linda Fell Linda A. Fiorelli D'Anne Hurd Thomas I and Linda Z Klein Philanthropic Fund Kenneth and Victoria Kolbe Bart and Joan Levenson Kimberley Pelyk Charles and Charlotte Perret Peter and Joanne Powers Gabriel and Valerie Schmergel Karen Vereb and Bud Blanton Kim Wheeler Susan and Charles Wilson

Kay Aidlin In Loving Memory of Stephen Aidlin Peggy C. Allen and Steve Dixon Robert and Elaine Appel Ronelle Ashby In Loving Memory of Everett Behrendt Jonathan and Kristina Berg Jerry Bilik Barbara Blumfield Marty and Barbara Bowling Barbara Brizdle Diana Cable Stephen and Mary Ellen Cease Natalie and Alan Cohen Diana Smith and Barry Cohen Nadine Cohodas In Loving Memory of Sylvia Cohodas Peter and Mary Davis Sona and David Degann Murray Duffin Anthony Dyson Annette and Edward Eliasberg

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Douglas Endicott Douglas Engebretson Barbara and Bill Epperson Robert and Iris Fanger Shirley Fein Steve and Wendy Fisk Donald Fosselman Paul Francis and Lolli Zarlin Patsy and Ed Garno Wanda Garofalo Jennifer Gemmeke Roz Goldberg Jane C. Gould and Stephen W. Fillo Helen and John Habbert Dr. Barbara Hajjar William and Jo Haraf Alene Hazeltine Janet Hyman Stephen and Lila Huse Ann and Robert Jackson Elizabeth Johnston Ann E. Jones Thomas and Alison Jones Joseph Kadow Merrill Kaegi

Richard Kemmler Phillip King Tassana and Michael Landy Deirdre Lanesskog Joan Switt Langbord Dorothy Lawrence Arthur and Marcella Levin Melvy Erman Lewis Marlene and Hal Liberman Barbara Fischer-Long and James Long Margaret Maguire Louis and Carolou Marquet Judith Marquis Dr. Noralyn Marshall Jean M. Martin John and Mary Ann Meyer Carolyn Michel and Howard Millman Chad and Ruth Morrison In Loving Memory of Virginia Haskins Page Barbara M Pickrell Linda Prowten and George Mitchell Jana and Eric Putnal Susan Rawson Pamela Revels Ronald and Marci Rhodes Sara and Benjamin Robinson Ann Hill Roth and Gilbert Roth Wylie Royce William and Marge Sandy Murray and Abby Sherry Arthur Siciliano and B. Aline Blanchard David and Karen Smith Nancy Smith Malcolm Stevenson Elizabeth Stewart Peggy Sweeney Ed Town and Steve Rubin John G. and Anna Maria Troiano Foundation Bernard and Lauren Walsh Thomas Weisman Florence Wildner Carol B Williams Mary Lou and Edward Winnick Jane Woods Anonymous

Gifts are current as of 1 March 2021


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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

SARASOTA MAGAZINE PROUDLY SUPPORTS

THE SARASOTA BALLET

32

STATE AWARDS 2020

WINNER OF 32 STATE AWARDS FOR WRITING, DESIGN AND PHOTOGRAPHY IN 2020. LOVED BY OUR READERS AND RECOGNIZED BY OUR PEERS. SARASOTA MAGAZINE CELEBRATED 40 YEARS OF EXCELLENCE IN 2019.

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ENTHUSIASTS $500 - $999

DSumner and Irene Bagby Dr. and Mrs. Gregg A. Baran Ruth Barker Marge and Isaac Barpal Maria and John Bartlett Richard Belle Charlotte Bimba Barbara Blackburn Linda and Glen Bodzy Ina and Carl Born Judith Bowie Kyuran Choe-Albano, MD Andre and Isabelle Christen Janine and Douglas Cohen Naomi and Saul Cohen Stanley and Norma Cohen Neal Colton Patricia Corson and Martin Goldstein Harold and Jacqueline D'Alessio Leila and James Day Kumu Dreier Sandra Jean Eshima John and Marlene Forster Tim and Ellen Foster Michael and Jean Freed Suzanne Freund Alfred and Anne Garrett

Gifts are current as of 1 March 2021

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Jerry Genova and Bob Evans Maria Georgiev Bonnie and David Goldmann James and Joann Grace Anthony Grasso Barbara K. Grauer Andrew and Felicia Hall Joelle R. Hamovit Beverly Harms James W. and Mary R. Heslin Stephanie Horeis Mary Howes Peter and Bonnie Hurley Brett Jenkins Susan Johnson Deborah Kalb Gerald and Nancy Kaplan Laura and Russell Karlins Ronald and Rita Karns Frank D. Kistler

Ronald Kluck and Joan Volpe Donna Koffman Ike Koziol Jane Kritzer and Carol Carmenaro Richard Leebove Marla and Gordon Levine Sandra Levy Evie Lichter Gerda Maceikonis Henry and Ellen Mason Lynn and Gary Massel Bert and Joy Mayerhofer David McLernon Michael and Michelle Morris Lee and Jan Peakes Thomas and Christine Perkins DJ Arnold and Richard Prescott Margot and Jack Robinson Susan L. Robinson

Karen Roosen Bob and Diane Roskamp Jack and Lenore Rubin Stanley and Jo Rutstein Carl and Cornelia Sare Mary Scharf Erwin and Carol Segal Jane Sheridan Vielka Sheppard Thomas and Carol Smith Judi Stern Louise P. Stevens Diran and Virginia Tashian Joan Tatum Robert Tutnauer Carolyn K. Warren Maureen and Daren Wells Robert J. Wilk Ann Williams Betty M. York Scott and Martha Young Anonymous


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Proud supporter of

endless pirouettes, flights of fancy and following your heart

Ask any artist: Pursuing your passion means giving the best of yourself. We understand. That’s why we’re proud to support The Sarasota Ballet, because great performance is worth the investment.

Fifth Third Bank, National Association. Member FDIC. CS4504

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ADMIRERS $250 - $499

Martin and Catha Abrahams Kimberly Albright Francine Alexander Christina Amato Caroline Amory and Marjorie Floyd Richard and Patricia Anderson Kathleen A. Fischer and Chuck Angulo Amy Barkin George and Frances Barletta Linda and Mark Baron Barbara Barrett Nicholas and Jocelyn Baskey Maxine and Irv Bass James and Lynnette Bennett Joseph and Suzanne Brent Patricia Briggs Mary Buckley Cynthia E. Byce Louis and Marianne Cohen Aubert Coran Katie Couchot Cynthia Cuminale Toby Deutsch Michael Dukes and Belle Bulwinkle Richard E. Edstrom Rosalyn Ehrenpreis David Eichlin and Bob Griffiths Sandra Fink Nancy and Peter Finn Sara W. Fishman Priscilla Fort Elaine and Robert Foster Lois Friedman Rhoda and Stuart Friedman Dana Gaddis Everett and Mary Gendler Barbara and Paul Gessler Mrs. Otto J. Glasser Marie and William Goetz Nancy Gold Marilyn Golden Sharon Grisez John and Nancy Harris Kathryn Harvey William Hatz Robert Hemingway Elaine Herda Donald Hoercher Marion B. Hoercher Gifts are current as of 1 March 2021

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Jeffrey Armstrong Hoerle Oya Horiguchi Jean and Peter Huber Vlatka Ivanisevic Bruce Kalt Arno Kastner Bruce and Barbara Keltz John and Barbara Kerwin Richard Kiegler and Ruthann Sturtevant-Kiegler Linda and Neil Kirschner Mary Klimasiewfski Robert Kloss Patricia M. Knott Philippe Koenig Janet Korte John Hargraves Lewis Terrance and Elvira Lindemann John Lindsey Dr. Lisa Mann and Dr. Rocco Marotta Julius and Kay Marcus Robert and Vicki McGriff

Alan and Nancy Milbauer Mary Mitchell Jon Newman Jon and Susan Newsome Wiley and Fran Osborn Jeannette Paladino Laura and Fred Pardee Bertha P. Person Sue and Jerry Peterson Lorena Pollock Tere Reis Brenda Griffiths and Richard Reston Dennis Revicki and Mary Lou Poe Douglas Rife Lenore and Isadore Sborofsky Philanthropic Fund Gail Schaeffer and Edward Ellis Norma H. Schatz Ann Schluederberg

Barbara Schott Anne and Alexander Scott John and Carole Segal Barbara Shivers Mr. and Mrs. Benjamin Smith Jr. Barbara Smith Mark Smith Skylar Smith J. S. Soble Wesley Spencer and Pauline Wood Martin Strobel Veronica Tcherevkoff Nasrin and Mark Thierer Jackie and John Thompson Marianne and Niels Trulson Helen Vetter Clare Villari Mutsuko Wennersten Betsy Wollman Mari Wright Stanley Zielinski


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Our local news fits your schedule. Quite a concept. We’re here for you with local news & weather just about any time you need us.

OVER AIR

THE

MORNING EDITION

CHANNEL 39

6 & 400HD

9 & 509HD

20 & 1020HD

CHANNEL 39

WEEKDAYS 6A-9A 49


ADVOCATES $100 - $249

Julia Aaron Maria Abraham Cecile Adams Priscilla Adams Gerald and Sue Ellen Addicott James Akers Pamela Akins Janette Albrecht Sherrie Albrecht Edward Allen and Lorraine Gawronski Lucia and Steven Almquist Paul Altman Peter Amster Andrea Anderson Angela Anderson Helen Arango Claire Arbour Adam and Suzanne Armbruster Brandy Austin Geraldine and Vahan Ayvazian Gretchen Bacon Richard Balestrino Elaine Bankoff Kim Bateman Emily Berger Elizabeth Weil Bergmann David Bloom Rotraut Bockstahler Gay Boylston Scott and Lisa Bradley Sheila and Ed Braun Kristine B. Bundrant Dierdre Miles Burger John Caldwell Barbara Callahan Jamie Carter Barbara Casey Kymberly Cassada Elizabeth Catanzano Barbara J. Chin Dennis and Meryl Ciborowski Jerry Clark Alice Cooke Glenn and Evelyn Cooper Stevie and John Coppin-Polking Charles Cosler

Gifts are current as of 1 March 2021

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Christina Cowell Mayers Kristie-Lynne Cox Fiona Crawford Wylie Crawford Glenn Cudiamat Christopher Curtis Louis and Anne DeFrancesco Judith Del Viscio Patrice DeMoss Laura Denault Diane DiBenedetto Marianne and Paul Diczok Kathleen Doepfner Syble Dolan-Di Girolamo Shelly Dorfman George Dorris and Jack Anderson William Draeger Jr Thomas and Carolyn Drew Brian and Victoria Eckl Carol and Martin Edelman Hazel Edlinger Linda Elliff Kathleen Elks Norris and Denise Elswick Elizabeth Ferguson Bradley and Nancy Fields Alan Fishbein Barbara Fisk Joann Flanigan Caryl Flickinger Elizabeth and Ben Forsyth Michael Fox Jane Freeman Suzan and Barry Friedman Gilber Friend-Jones David and Carol Furer Michael and Karen Gardiner Elvira Garibovic Kate Relling-Garskof and Melvyn Garskof Paul and Suellyn Gates Lynda and Marvin Geller Jeff George Cheryl Giraudy Marjorie R. Goldstein Jane F. Gordon Sue Marquis Gordon

Ricardo Graziano Barney Greenhill Andre Guilloton Gary Gulden Suzanne Guyette Steven Ha Christine C. Hales Ben Hall Martin and Sherrie Handelman Karen and Bert Harris Bonnie L. Harrison Nancy Harvey Deborah Hawkins Emma and Daniel Headington Christine Heckel Susan Hecker Stan and Adrienne Heishman Belle Heneberger Joe and Mary Kay Henson Ronald Hernden Michael Hetsler Gregory Hetter and Anita Pihl Robert Hildebrand Elliott Himelfarb and Janet Minker Judy Hinton Moira Hintsa Christopher Hird Michael Hird John and Nina Hockenberry Melitta Hoenle Judith Hoerr William Holland William Holmes Dale Horwitz Nancy Hutcheson Deborah Hutton Vlatka Ivanisevic Ellen Jabbur Linda Jacob Sue Jacobson Barbara Jacoby Millicent Jaekle Oliver and Suzanne Janney Judith Liersch and Allen Jennings Dale and Barbara Jensen Judeth Jensen

Andrea Johnson Bette Johnson Jim Johnson Tim and Mary Johnson Johnston Family Fund Jane Jones Edward and Lyn Kahn Roger and Kristy Kaufman Sean and Cara Keenan Adele and Paul Kellman Mr. and Mrs. Alfred C. Kellogg Roderick Kelly Maura Kenny Julie Keverian Alyson L. King Kim Kirchhofer Eileen Kirk Ellen Klein Rosalyn and Paul Kline Patricia Klugherz Lily Koester Warren Koontz Norma Koppel Nancy J. Laird Iris LaJoie Anthony and Dorid Lamb Anita Lambert Kevin Lambert Gail Landry Harriet Lane Robert Lange Joan E Lappin Claudia Latona Deanne Lay Ellen Layman Nancy Lee Ron Lee Bruce Lehman Joel and Calva Leonard Barry Levin Cynthia Lichtenstein Andrea Lieberman Phyllis and Phil Lieberman Sheryl D Lindholm Louis Loeb Dr. Vassyl Lonchyna and Dr. Roksolana


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ADVOCATES $100 - $249

Tymiak-Lonchyna Jacqueline Lorusso Stephanie R. Louis Francine Luque Richard Mace Carol MacLennan Daniel Maksymowicz Myra Malkin Kimberley Mancini Maria Mandler Peter Marion Eileen Markson Donald and Judith Markstein Mary Lee Martens Oscar Martinez Jacqueline Massari Andrew and Donna Mateer Gregg and Jill May Eva Maze Lynn McBrier Ann McConnachie James and Elaine McCormack Jane E. McCormack Josephine and Joelle McCoy Leanne McKaig Marianne McKenna Henry McFarland Julie Mcgue

Robert and Sharon McMillan Todd Mechtensimer James and Lynn Medlin Joanne Meighan Robert and Margo Menson Margaret Merlino Joan and Robert Meyer Janet and Paul Michaelson Jack Michelson Jean Miller Sharon Miller Sandra Miranda Zachary Morowitz and Julie Brown David Morriss Jean Muccini Phyllis Myers Martha Naismith Joan Nasser Eric and Mafalda Neikrug John and Katherine Nelson Sigurd Nelson George Nimick Atsushi Nishizawa Marilyn Nordby

Richard and Lois Noyes Jennifer Nzeza Maegan Ochoa Mary Olha JoAnne Olian Ruth Orenstein Lauren Ostrander Michael Ostrander Vance Ostrander Lenee and Conrad Owens Thomas Paine Margaret Palacio-DAiuto Robin and Emilio Palermo Anand Pallegar Jeanette Pappas Phillip Parham Michele Pasquini Anna Passalaqua Lorelei Paster Richard Paulsen Barry and Cynthia Pearlman Joe and Janis Peixoto Katharine Pepper Richard Peterson

Joseph and Sharon Petty Katelyn Pforzheimer Margaret Pierce Andrea Pilch Julie Planck Andrea Plautz Dr. Marc and Carol Pohl Katie Powers Richard Prager Kimberly Proctor Carlos de Quesada Jerry and Carole Reid Kate Relling Cheryl Richards Sandra Ripberger Laurie Rizzolo Martin Robbins Mary Robinson-Berhang Ursula Robinson Beverly Root Sheila Rosenthal Barbara Rosin Sally Ross Sam Ross Leslie Marquette Rousseau Dr. Jack and Nancy Rozance Herbert Ruderman Lynn and Ned Rule Brian and Jean Rushton Sidney and Marcia Rutberg Catherine Ryan Georgena and Paul Ryan

Gifts are current as of 1 March 2021

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ADVOCATES $100 - $249

Lawrence Sage Phyllis Schaen Molly Schechter Sandra Schemske Gary Schieneman Tobi Schneider Eda Scott Herb and Ann Sears Diana Sells Philip and Karen Selwyn Susan Serling and David Kessler John and Carol Shabe Paula Sharp Dr. Rosabella Shek Jean Shorr and David Langhaug Estelle Silbert Steve Sills Beth Robyn Silverberg David and Linda Sischy Kiernan and Margaret Skinner Valeria Sloan Turbi and Paul Smilow Jennifer Smith Kathie Smith Barbara Smith-Bacon Barbara Somma Helen and Jerry Spindler

Gifts are current as of 1 March 2021

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Terri Spoon Irene J. Stankevics Gordon Stanley Barbara Staton William Stavi-Raines Victoria Sterling Judilee Sterne Joan and Jim Stewart Erik and Lesley Svenson Edward Swindell Fredricka Taubitz Judith G. Taylor Bogdana Tchakarova John and Lillian Thomson Sigmund and Lora Tobias Carol A. Tomlinson Tracy Tucker and Joel Howard Carl Tursi Walt and Carole Ulin Barbara Verhey Stanley Vickers Susan Viqueira

Michael Vlaisavljevich Sarah Walcutt-Febish Paul Walser Michele Ward Joyce Waterbury and Ronald Conners Judith Waxberg Anna and Jason Webb Elaine and Jeff Weinberg Ann Weingartner Gisela Weinland Janet Weisbord Gail J. Weiser Iris Wenglin Ernest Werlin Donald West Bonnie Whisman Jo Ann White Sid and Maryann Whitman Barbara Wilcox Aaron Wilner

Gretchen M. Wilson Karen Wiltsie Terry Wohl Katherine Wyly Marsha Zapson Dodie Zehnwirth Wayne Morgan and Charlotte Zurn Elaine Zwelling Anonymous


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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 .

CHARLES & MARGERY BARANCIK The Sarasota Ballet cherishes the memory of Chuck and Margie Barancik. Their generosity, spirit, and passion for the arts continues to impact our organization now, and will for years to come.

STEPHEN AIDLIN

THOMAS KLEIN

RUTH BELILES

MARY DONIKIAN

STANLEY KANE

STAN KATZ

RUSSEL LEE

CAROL PHILLIPS

FLORI ROBERTS

HELEN MARCH

ROLAND ANTHONE MARGOT COVILLE MARCIA KATZ

EVERETT BEHRENDT

RONALD GREENBAUM INA RAE LEVY

VIRGINIA HASKINS PAGE

MARCIA CORRIGAN

JANET HUNTER

MORTON MANDLE MICHAEL PEPPER

MARY ELLE HUNTER

TERRENCE MCNALLY MORTON SKIRBOLL

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 away recently. Please contact the Development Department so that we may update our archives.

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F O U N D AT I O N 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

FLORIDA DEPARTMENT OF STATE

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SARASOTA COUNTY CORONAVIRUS AID RELEIF AND ECONOMIC SECURITY ACT


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F O U N D AT I O N AND PUBLIC SUPPORT $20,000+

SCHULTZ-HILL FOUNDATION

$10,000+

BANK OF AMERICA CLIENT FOUNDATION

CHARLES HENRY LEACH II FUND

CORNELIA T. BAILEY FOUNDATION

AT DUQUESNE UNIVERSITY

THE KORS LE PERE FOUNDATION ROCKEFELLER TRUST COMPANY

Gifts are current as of 1 March 2021

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F O U N D AT I O N AND PUBLIC SUPPORT $5,000+ MANATEE COUNTY CORONAVIRUS AID

CORDELIA LEE BEATTIE FOUNDATION

RELIEF AND ECONOMIC SECURITY ACT

JEROME ROBBINS FOUNDATION

$1,000+

ANNETTE J. HAGENS MEMORIAL FOUNDATION

GILBERT WATERS CHARITABLE FUND II

FAY A. SCHWEIM

MEMORIAL CHILDREN'S DANCE FUND

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JELKS FAMILY FOUNDATION


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F O U N D AT I O N AND PUBLIC SUPPORT $1,000+ THEDA BOHRER WENDY & TRACEY CHARITABLE FUND

WOMEN’S OUTREACH MINISTRY CHURCH OF THE REDEEMER

ADDITIONAL SUPPORT PROVIDED BY Andy Frank Fund at the Community Foundation of Sarasota County Bernard Lewis Charitable Foundation Betty & Marie Healy Family Foundation Costco Wholesale Council of School Supervisors and Administrators Deline Charitable Foundation

Gifts are current as of 1 March 2021

Florida State University Johnston Family Fund Manatee Community Foundation Midvale Foundation SRQ Media Gives Back Foundation The Leda Freedman Fund Tucker Family Charitable Fund

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C O R P O R AT E S P O N S O R S $20,000+

$10,000+

$5,000+

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C O R P O R AT E S P O N S O R S $1,000+ GOLDMAN BABBONI FERNANDEZ & WALSH

GULF COAST ITALIAN CULTURE SOCIETY MATCHING GIFTS

ADDITIONAL SUPPORT PROVIDED BY AbbVie Amazon Smile Feldman & Mahoney, P.A. Flowers by Fudgie FlorinRoebig Trial Attorneys Hedge Team at Premier Sotheby's International Realty IBM Corporation

Longboat Key Education Center Michael's on East Network for Good Porch Puget Sound Development, LLC Serbin Print Marketing & Publishing White Oaks Investment Management

Gifts are current as of 1 March 2021

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MEDIA SPONSORS SEASON SPONSORS

SPONSORS

DANCE MEDIA

Gifts are current as of 1 March 2021

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T H E D E V E LO P M E N T T E A M

SARA RO B I N S O N C H I E F A D VA N C E M E N T O F F I C E R Welcome to the 30th Anniversary Season! As we embark on this milestone year, we celebrate the people, programs, and the incredible artistry that makes The Sarasota Ballet possible. COVID-19 has given us all a chance to reflect on what is important and then to re-envision the ways in which we connect with our dancers, staff, leadership, students, patrons, and our audience. During the 2019-2020 season, staff, leadership, and the Trustees worked together to create a strategic plan for organizational growth over the next three years. The 2020 Strategic Plan provides a framework for artistic expansion, education and community programs, and audience development in the years ahead. Although our approach has been altered by COVID-19, the goals are still there and very much alive in the work that we are doing. In the spring of 2020, we were pleased to welcome a new Advisory Council to our leadership structure to help us navigate the challenges and growth that lies ahead. Also, in the spring and summer of 2020, we created a new framework to engage our leadership, dancers, students, patrons and audience this coming season. The Development Team joins me in welcoming you to this unique season. We are here for you. To help you connect in uncertain times and to help you continue to enjoy the remarkable talent of The Sarasota Ballet now and in the future. Thank you for your generous support. We look forward to sharing an exciting 30th Anniversary season with you.

srobinson@sarasotaballet.org | 941.225.6504

CHAD MORRISON

LAUREN STROMAN

RACHAEL FISK

KATHERINE KNOWLES

SENIOR DEVELOPMENT OFFICER

DEVELOPMENT OFFICER

DEVELOPMENT ASSISTANT

GRANTS MANAGER

941.359.0099 x 110 lstroman@sarasotaballet.org

941.359.0099 x 119 rfisk@sarasotaballet.org

941.359.0099 kknowles@sarasotaballet.org

941.359.0099 x 113 cmorrison@sarasotaballet.org

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2 0 2 0 S T R AT E G I C P L A N CELEBRATING 30 YEARS The Sarasota Ballet enters its 30th Season as one of the nation’s most exciting ballet companies. The Company’s outstanding repertoire of over 150 ballets and divertissements includes 38 world premieres, 7 American premieres by 37 internationally renowned choreographers, revivals of nearly lost ballets, and rarely seen works – all with a commitment to developing the choreographers of today and tomorrow. The Sarasota Ballet has commissioned new works by upcoming choreographers nationally, internationally, and within the Company itself. Under the leadership of Iain Webb, The Sarasota Ballet has achieved national and international critical acclaim. Alongside the professional company, The Sarasota Ballet offers a comprehensive dance education program for children, youth, pre-professional, and adult students. The Sarasota Ballet School and The Margaret Barbieri Conservatory are ABT Certified and nationally recognized in the dance industry. In addition to outstanding education programs, The Sarasota Ballet offers an extensive community engagement platform in the Greater Sarasota area. Through a broad range of community partnerships, these programs engage individuals of all ages in free or low-cost opportunities to participate in classes, community performances, and programs that celebrate the joy of dance.

INTERNATIONAL PARTNERSHIPS

LEADERSHIP

WORLD-CLASS PERFORMANCES

OUR MISSION To enrich lives, captivate emotions, and strengthen community through the art of dance.

COMMUNITY PARTNERSHIPS

EDUCATION & COMMUNITY

OUR VISION To infuse our community with the highest quality and diversity of dance in America.

OUR VALUES Artistic Excellence Financial Discipline Diverse Repertoire Community Engagement Teamwork

THE PLAN The Sarasota Ballet balances its annual budget of approximately $7.6 million through earned revenue (39%) and contributions (61%). The Ballet maintains a season of approximately 30 performances in 3 venues in Sarasota and a touring schedule that varies each season to venues in the Northeast. The 2020 Strategic Plan outlines a comprehensive strategy to strength all aspects of the organization while planning for the future of the Company. Together with our leadership, we are looking to expand our artistic footprint, embrace diversity, equity, and inclusion, build increasingly loyal and supportive audiences, and prepare for our future through long-term financial planning. The Sarasota Ballet enters the next decade poised for growth and development in all aspects of the organization. 62


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SPOTLIGHT ON STRATEGIC FOCUS AREAS ARTISTIC PROGRAMMING

Expand our footprint in Southwest Florida and the Northeastern United States through implementation of robust artistic programs featuring dancers and choreographers of the highest quality for diverse and expanding audiences.

EDUCATION

Provide internationally recognized education programs enhanced with teacher certification, program development, and excellence in education for students of all ages.

COMMUNITY ENGAGEMENT

AUDIENCE EXPANSION

FUTURE INITIATIVES

Build expansive community partnerships and develop free and low-cost programs that engage all individuals in the joy of dance.

Expand the ways that people experience, connect with, and support The Sarasota Ballet through new leadership programs, new patron experiences, and outreach programs that welcome and inspire new audiences. Develop long-term plans for future initiatives including financial planning for an endowment, touring, facility improvements, and further audience expansion.

Our Trustees & Advisors Our Staff

Our Patrons

YOUR ROLE IN THE MISSION Audience Expansion

Artistic Programs

Future Initiatives Education Community Engagement

For More information: The 2020 Strategic Plan was approved by the Board of Trustees in March 2020. For more information about the plan please contact: Sara Robinson Chief Advancement Officer (941)225-6504 srobinson@sarasotaballet.org 63


THE MARTUCCI L E G AC Y S O C I E T Y 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 students to our Education Programs, we’re proud to protect your legacy within The Sarasota Ballet. For more information, please contact Chad Morrison at 941.225.6513.

"A P L A N N E D G I F T I S A WAY T O P E R P E T UAT E A N D L E AV E

a nk Fra

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Ka the rine M

A PA R T O F Y O U R S E L F T H A T WILL CONTINUE ON WITHIN T H E O R G A N I Z A T I O N ."

artucci

- FRANK MARTUCCI

EXTRAORDINARY GIFT ANNOUNCEMENT FROM JEAN WEIDNER GOLDSTEIN Having founded The Sarasota Ballet 30 years ago, Jean Weidner Goldstein has done more than anyone for this organization. But it was an unexpected surprise when she announced a planned gift of one million dollars to the Ballet and the Martucci Legacy Society earlier this year. Director Iain Webb says of the gift, “Jean has dedicated so much to this organization – and this amazing gift will give us another way to protect and cherish her legacy in the future. Her vision not only started the Ballet, but will look after its success in the years to come.” With 154 ballets and divertissements under Iain Webb’s direction, including 39 world premieres and 7 American premieres, this Legacy gift from Ms. Goldstein will directly support the wide range of choreography that The Sarasota Ballet has become known for long into its future. 64


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MEMBERS OF THE M A RT U C C I L E G AC Y S O C I E T Y

George Allison and Alan Watkins

Donald H. and Barbara K. Bernstein

Jerry and Gay Bowles

Martin and Barbara Bowling

Murray Bring and Kay Delaney Bring

Donald Britt

Ann Burroughss

Judy Cahn

Lynn Chancer

Jonathan Strickland Coleman and Rick Kerby

Edward Cooke

Douglas Endicott

Ronald and Micki H. Gamer

Ellen Goldman

Jean Weidner Goldstein

Patricia Golemme

Gudrun Graugaard

Julie A. Harris

Richard Kemmler

Pat and Ann Kenny

Ernie Kretzmer

Lydia Landa

Julia Laning

Harry Leopold and Audrey Robbins

Richard March

Frank and Katherine Martucci

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

Micki Sellman

Bud and Betty Shapiro

B. Aline Blanchard and Arthur Siciliano

Hillary Steele

Marcia Jean Taub

David Welle and Rosemary Reinhardt

Kim Wheeler

Anonymous

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PAT R O N B E N E F I T S Patron Benefits represent the highest level of recognition for the commitment and support of The Sarasota Ballet. In appreciation for patrons’ generous support, The Sarasota Ballet provides ticketing benefits, special events, and activities. As The Sarasota Ballet celebrates our 30th Anniversary Season, we are thrilled to announce our new VIRTUAL DONOR BENEFITS! If you are considering a gift to The Sarasota Ballet, please know that your gift means more now than ever. Your gift will support the Artistic, Education, and Engagement Programs of the organization. In addition to helping the Company, you will receive recognition in our 30th Anniversary Season Program Book and Insider Access to this very special season through the following: • Virtual events with the dancers • Virtual After-Parties for Programs 1- 7 • Invitation to a virtual Company Meet & Greet with the Dancers • Invitation to our annual Silver Circle event • A special 30th Anniversary Season gift

Join Today!

For questions regarding membership and patron benefits, please contact Lauren Stroman, Development Officer at lstroman@sarasotaballet.org or 941.225.6510.

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LU M I N A R Y C I R C L E - $100,000 O R M O R E Production Sponsor recognition for a Ballet, Education, or Community Program • Recognition includes virtual Curtain Announcement • Invitation to all Studio Dress Rehearsals (virtual and in-person) B E N E FAC TO R C I R C L E - $75,000 TO $99,999 All benefits listed below, plus: • Invitation to dinner at the home of Directors Iain Webb and Margaret Barbieri G UA R D I A N C I R C L E - $50,000 TO $74,999 All benefits listed below, plus: • Invitation to exclusive virtual Coaching Experience with Director Iain Webb CO N N O I S S E U R C I R C L E - $25,000 TO $4 9, 999 All benefits listed below, plus: Sponsorship recognition for a Ballet, Education, or Community Program • Recognition includes photo in the Season Program Book, listing in Performance Programs, and photo on signage (virtual and print) • Invitation to a Studio Dress Rehearsal (virtual or in-person) A F I C I O N A D O C I R C L E - $15,000 TO $24,999 All benefits listed below, plus: • Invitation to a virtual or in-person Company Meet and Greet PAT R O N C I R C L E - $10,000 TO $14,999 All benefits listed below, plus: Co-Sponsorship recognition for a Ballet, Education, or Community Program • Recognition includes photo in the Season Program Book, listing in Performance Programs, and photo on signage (virtual and print)

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• Invitation to Annual Dinner of Excellence • Invitation to a Studio Dress Rehearsal (virtual or in-person) D E V OT E E C I R C L E - $5,000 TO $9,999 All benefits listed below, plus: • Photo in the Season Program Book (virtual and print) • Invitation to virtual After-Performance Parties with Company • Signed Season Program Book G O L D E N C I R C L E - $3,000 TO $4,999 All benefits listed below, plus: • Invitation to virtual Cocktail Reception with Company Meet and Greet S I LV E R C I R C L E - $1,000 TO $2,999 All benefits listed below, plus: • Concierge Ticketing Service • Invitation to the Annual Silver Circle Reception E N T H U S I A S T S - $50 0 TO $999 All benefits listed below, plus: • Listing in all Performance Programs (virtual and print) • 30th Anniversary Gift A D M I R E R S - $250 TO $499 All benefits listed below, plus: • Listing in the 2020 - 2021 Annual Magazine – Summer 2021 A D V O C AT E S - $100 TO $249 All benefits listed below, plus: • Listing in the Season Program Book (virtual and print) S U P P O R T E R S - $50 TO $99 • In-Step E-Newsletter

*The Season Program Book acknowledges all 2020-2021 contributions received or pledged in writing by 1/15/2021

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30 YEARS STRONG KEEP US DANCING, NOW & FOREVER

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

BY PHONE

To make a donation using your credit card, please contact the Development Department 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: Development Department 5555 North Tamiami Trail Sarasota, FL 34243

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WAYS TO G I V E TO T H E S A R A S OTA B A L L E T

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 phone the Development Department at 941.225.6510.

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

Double or triple your impact! 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. Questions? Contact the Development Department at 941.225.6510 or email lstroman@sarasotaballet.org

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BIOGRAPHIES

IAIN WEBB DIREC TOR

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. Tiggy-Winkle 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 had performed 154 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. 71


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

Injured?

Justice

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BIOGRAPHIES

JOSEPH VOLPE EXECUTIVE DIREC TOR

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 four world premieres, 22 Met premieres, four 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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DR. JARED A. WINTERS

Chiropractic Physician

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

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BIOGRAPHIES

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

Born in South Africa of Italian parents, Margaret Barbieri moved to England to study at The Royal Ballet School. In 1965 she joined The Royal Ballet Touring Company (now Birmingham Royal Ballet), and became a Principal Dancer in 1970. During a highly successful 25-year dancing career, she danced most of the leading roles in the classical repertoire (including The Sleeping Beauty, Swan Lake, Coppélia, Romeo and Juliet, La Fille mal gardée, Taming of the Shrew, The Two Pigeons, and The Dream). However it was her major impact in the title role of Giselle at the age of 21 that first established her special reputation as a Romantic Ballerina. In 1973 she was invited to dance Giselle at the Deutsche Oper in Berlin and received high praise from the press and audience alike, a triumph which she repeated in 1974 when she returned to her native South Africa to dance the role in Durban. She replaced an indisposed Natalia Makarova at short notice in the same role for Norwegian National Ballet and made many guest appearances with companies internationally in Giselle, Swan Lake, Coppélia, and Cinderella. In addition to guesting, Barbieri also performed worldwide with The Royal Ballet. Barbieri worked closely with most of the great masters of the 20th Century, including Sir Frederick Ashton, Sir Kenneth MacMillan, Dame Ninette de Valois, John Cranko, Antony Tudor, Rudolf Nureyev, and Hans van Manen. Roles were created on her by Ashton, Sir Peter Wright, Tudor, David Bintley, Michael Corder, Ronald Hynd, and Joe Layton. Many of her best-known roles were televised, including Swanhilda (Coppélia), Black Queen (Checkmate), The Mother (Bintley’s Metamorphosis), Young Girl (Le Spectre de la Rose), and van Manen’s Grosse Fuge. With David Ashmole, she was featured in BBC TV’s Ballet Masterclass series, given by Dame Alicia Markova, who later coached her in Fokine’s The Dying Swan and Pavlova’s The Dragonfly. Barbieri retired from The Royal Ballet in 1990 to become Director of the new Classical Graduate Programme at London Studio Centre and Artistic Director of the annual touring company, Images of Dance. During her tenure, she was instrumental in devising the Classical Ballet Course for the BA Honours degree. Here she gave Christopher Wheeldon his first professional commission and Sir Matthew Bourne his first classical ballet commission. She also found time to teach at Birmingham Royal Ballet Company and the English National and Royal Ballet Schools, serving on The Royal Ballet’s Board of Governors from 1994-2000 and participating as an External Assessor for the Arts Council of England from 1995-2001. Her staging credits include Swan Lake Act II, The Fantasy Garden from Le Corsaire, and Kingdom of the Shades from La Bayadère for Images of Dance; Nureyev’s production of Raymonda Act III for K-Ballet in Japan; Ashton’s Façade for Scottish Ballet, K-Ballet, and Oregon Ballet Theatre; and The Two Pigeons for K-Ballet and State Ballet Theatre of Georgia. During the last 10 years at The Sarasota Ballet she has staged Wright’s production of Giselle; Ashton’s The Two Pigeons, Façade, Birthday Offering, Les Patineurs, Les Rendezvous, La Fille mal gardée, Valses nobles et sentimentales, and Jazz Calendar; de Valois’ The Rake’s Progress and Checkmate; Cranko’s Pineapple Poll; Wheeldon’s There Where She Loved and The American; Darrell’s Othello; Bourne’s Boutique; Bintley’s Four Scottish Dances; Layton’s The Grand Tour; Fokine’s Les Sylphides and Petrushka; Nureyev’s Raymonda Act III; and Samsova’s production of Paquita. Barbieri has been invited to judge at numerous ballet competitions across the globe, including Brazil, Japan, South Africa, the United States, and Europe. In April 2010, she was awarded Distinction by the University of the Arts, London, for her Post Graduate Certificate in Teaching and Learning. In 2013 she was invited to speak at the Ashton Symposium in London and became an Ashton Associate for the Sir Frederick Ashton Foundation. Having previously staged several ballets for The Sarasota Ballet, Barbieri was appointed Assistant Director in August 2012.

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BIOGRAPHIES

RICARDO GRAZIANO |

RESIDENT CHOREOGRAPHER

In 2011, Ricardo Graziano was given the opportunity by Iain Webb to choreograph his first ballet, Shostakovich Suite, which premiered in October 2011. Following this ballet, Graziano choreographed four new ballets before being appointed Resident Choreographer by Iain Webb on stage in 2014 after a performance of Symphony of Sorrows. Since then he has choreographed 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. 77


DAN I

P R I N C I PA L S E BROWN L EL

Joined The Sarasota Ballet in 2007 Promoted to Soloist in 2009 and Principal in 2010 Lead and Featured Roles include:

D

OG

RAZIAN O

RICA

R

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, Western Symphony; de Valois’ Checkmate, The Rake’s Progress; Fokine’s Les Sylphides; Graziano’s Amorosa, In a State of Weightlessness; MacMillan’s Concerto, Las Hermanas; Nureyev’s Raymonda Act III; Robbins’ Fancy Free; Taylor’s Brandenburgs; 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.

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, The Walk to the Paradise Garden; Balanchine’s Diamonds, Emeralds, Prodigal Son, Stars and Stripes, Western Symphony, Who Cares?; Bintley’s ‘Still Life’ at the Penguin Café; de Mille’s Rodeo; de Valois’ The Rake’s Progress; Fokine’s Les Sylphides; Graham’s Appalachian Spring; MacMillan’s Las Hermanas; 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, Brandenburgs; Tuckett’s Changing Light, Lux Aeterna; Tudor’s Lilac Garden; Wheeldon’s The American, There Where She Loved; Wright’s Giselle, Summertide.

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KA T

P R I N C I PA L S E

H ON E A

Joined The Sarasota Ballet in 2002 Promoted to Soloist in 2006 and Principal in 2009 Lead and Featured Roles include:

AH I R

UL L A

N D

TO

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, Western Symphony, 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; 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.

V IC

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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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. 79


KA T

P R I N C I PA L S YN L E

MAY

Joined The Sarasota Ballet in 2017 Promoted to Principal in 2018 Lead and Featured Roles include:

STRE

E

EL L

ER V O

T

EN

Ashton’s The Dream, Enigma Variations, Meditation from Thaïs, Monotones I, Les Patineurs, Les Rendezvous, Rhapsody; Balanchine’s Diamonds, Stars and Stripes, Theme and Variations, Western Symphony; 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, Shostakovich Suite, Symphony of Sorrows, Valsinhas; Hart’s John Ringling’s Circus Nutcracker; MacMillan’s Las Hermanas; Robbins’ The Concert; Samsova’s Paquita; Taylor’s Airs, Brandenburgs; Tuckett’s The Secret Garden; Tudor’s The Leaves are Fading; Walsh’s I Napoletani; Wheeldon’s There Where She Loved; Wright’s Giselle.

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, Western Symphony; Bintley’s Four Scottish Dances; de Mille’s Rodeo; Fokine’s Les Sylphides; Graham’s Appalachian Spring; Graziano’s In a State of Weightlessness, Symphony of Sorrows; MacMillan’s Concerto, Las Hermanas; Nijinsky’s L’Après-midi d’un Faune; Robbins’ The Concert, Fancy Free; Taylor’s Brandenburgs; Tuckett’s Changing Light, Lux Aeterna; Tudor’s Continuo, Lilac Garden; Walsh’s Wolfgang for Webb; Wheeldon’s The American, There Where She Loved. 80

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RIC A

P R I N C I PA L S R

RHO D E O S D

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, Western Symphony, 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; Kobborg’s Salute; Graziano’s Symphony of Sorrows; Nijinsky’s L’Après-midi d’un Faune; Robbins’ The Concert, Fancy Free; Taylor’s Brandenburgs; Tuckett’s Changing Light; Wheeldon’s The American, There Where She Loved; Wright’s Giselle, Summertide.

LUK E

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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AUFUSS H SC

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, Romeo & Juliet; Bintley’s King Dances, Prince of the Pagodas; Bourne’s Highland Fling; Bournonville’s Kermesse in Bruges, Napoli, La Sylphide; Cranko’s Card Game; Lopez’s A Streetcar Named Desire; MacMillan’s Elite Syncopations; Neumeier’s A Midsummer Night’s Dream, Lady of the Camellias;

Lead and Featured Roles include:

Ashton’s Les Rendezvous; Balanchine’s Theme and Variations, Western Symphony; Graziano’s In a State of Weightlessness, Shostakovich Suite; Hart’s John Ringling’s Circus Nutcracker; Schaufuss’ La Sylphide pas de deux; Walsh’s I Napoletani 81


RIC

P R I N C I PA L S K

E IB

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

RTONI

C H A R A C T E R P R I N C I PA L 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, Western Symphony, 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 Before Night Falls, Symphony of Sorrows; Layton’s The Grand Tour; North’s Troy Game; Robbins’ The Concert; Taylor’s Brandenburgs, 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.

EL IZ

FIRST SOLOIST

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TH SYKE E S AB

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

Joined The Sarasota Ballet in 2009 Promoted to Soloist in 2014 and First 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 Before Night Falls, In a State of Weightlessness; Kobborg’s Salute; Nureyev’s Raymonda Act III; MacMillan’s Concerto; Possokhov’s Firebird; Taylor’s Brandenburgs, Company B; Tudor’s Continuo; Wheeldon’s The American; Wright’s Giselle.


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SOLOISTS

A DOMIN N I JA

S

N

A BENO TH I

T

SA M A

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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Joined The Sarasota Ballet in 2019 Promoted to Soloist in 2020

Featured Roles include: Ashton’s The Dream, Façade, Jazz Calendar, Les Rendezvous, 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.

Featured Roles with The Sarasota Ballet include: Ashton’s Les Rendezvous; Balanchine’s Theme and Variations, Western Symphony; Graziano’s En Las Calles de Murcia, Shostakovich Suite; Hart’s John Ringling’s Circus Nutcracker; MacMillan’s Las Hermanas; Taylor’s Brandenburgs; Walsh’s I Napoletani. Featured Roles with The Finnish National Ballet included: 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.

DH R A

OUSE

RYO K

RIC H

Joined The Sarasota Ballet in 2012 Promoted to Soloist in 2016

O

DOSHIM A S A

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, Western Symphony; Bintley’s Four Scottish Dances; Graziano’s Amorosa, En Las Calles de Murcia, In a State of Weightlessness; Hart’s John Ringling’s Circus Nutcracker; MacMillan’s Concerto pas de deux; Walsh’s I Napoletani; 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.

Featured Roles include: Ashton’s Façade, Monotones I, The Two Pigeons, A Wedding Bouquet; Balanchine’s Bugaku, Emeralds, Serenade, Western Symphony, 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. 83


KORTE E A

Joined The Sarasota Ballet in 2018

Featured Roles include: Ashton’s Les Patineurs, Rhapsody, Varii Capricci Balanchine’s Theme and Variations, Stars and Stripes Bintley’s Four Scottish Dances Graham’s Appalachian Spring Hart’s John Ringling’s Circus Nutcracker Taylor’s Brandenburgs Tudor’s The Leaves are Fading

Featured Roles include: Ashton's Apparitions, Les Rendezvous, Les Patineurs Balanchine's Western Symphony, Who Cares? Graziano's In a State of Weightlessness Hart's John Ringling's Circus Nutcracker Samsova's Paquita Walsh's I Napoletani Wright's Giselle

RQUES

RE

A M I

Promoted to Coryphée in 2020

N

O S T R A ND

LAU

YU R

Joined The Sarasota Ballet in 2015 Promoted to Coryphée in 2019

ER

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UI B IA

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

JA N

AS

C O RY P H É E

Joined The Sarasota Ballet in 2018 Promoted to Coryphée in 2020

Joined The Sarasota Ballet in 2018

Featured Roles include: Ashton’s Les Patineurs, Les Rendezvous Balanchine’s Theme and Variations, Western Symphony Graziano’s En Las Calles de Murcia, Shostakovich Suite Robbins’ The Concert Taylor’s Brandenburgs Samsova’s Paquita Wright’s Giselle

Featured Roles include: Ashton's Apparitions, Les Rendezvous, Les Patineurs, Balanchine's Western Symphony, Who Cares? Graham's Appalachian Spring Graziano's Amorosa, En Las Calles de Murcia Hart's John Ringling's Circus Nutcracker Walsh's I Napoletani Samsova's Paquita

Promoted to Coryphée in 2020


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C O RY P H É E

IVA

DA N

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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N

SP

ITALE

Joined The Sarasota Ballet in 2018 Promoted to Coryphée in 2020

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

Featured Roles include: Ashton’s Enigma Variations, Rhapsody Balanchine’s Theme and Variations, Western Symphony Graham’s Appalachian Spring Graziano’s En Las Calles de Murcia, In a State of Weightlessness Taylor’s Brandenburgs Walsh’s I Napoletani Wright’s Giselle

FILIPP

LMORBI A D V A

O

Joined The Sarasota Ballet in 2012 Promoted to Coryphée in 2019

Joined The Sarasota Ballet in 2016 Promoted to Coryphée in 2018

Featured Roles include: Ashton’s The Dream, Les Patineurs, Les Rendezvous Balanchine’s Stars and Stripes Bintley’s ‘Still Life’ at the Penguin Café Graziano’s Shostakovich Suite, Valsinhas Hart’s John Ringling’s Circus Nutcracker Taylor’s Brandenburgs Tuckett’s Changing Light, The Secret Garden

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ER I

N

L AS

EPROH

Joined The Sarasota Ballet in 2019 Trained at | The Sarasota Ballet Studio Company (18/19) & Richmond Ballet

O

TH

OM

Joined The Sarasota Ballet in 2018 Previous Company | Atlanta Ballet 2

N

U E J E NK IQ I

Joined The Sarasota Ballet in 2020 Previous Company | National Ballet of Canada

K

MI K

A

H

ET 86

HUTTO

N

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

LA Y A

Joined The Sarasota Ballet in 2020 Previous Company | Texas Ballet Theater

S

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

AN

C

GUEREDO FI

N

CL

LAVIN

KIMBRELL

EVANS

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

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

EG R I

Y VE

O IN

NAKA

YU

OSTACH E

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

DOM I

C AI

HA R

MI H

CO RPS DE BA LL E T

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


30 T H A N N I V E R S A R Y S E A S O N 2020 – 2021

J UL IA

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

N

OW

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

ERKIN S LE N IN

AP I L

Y

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C ORP S D E B A L L ET

Joined The Sarasota Ballet in 2019 Trained at | The Sarasota Ballet Studio Company (18/19) & Kansas City Ballet

EB E R

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LLIAMS WI

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

L VA

LADARE S

Joined The Sarasota Ballet in 2018 Previous Company | Atlanta Ballet 2

PAI G

EM E

P

LEGRINO EL

KE LL

A NN A

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UNG YO

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

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MA C

VOGT N Y

Previous Company | Charlotte Ballet II

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ALPINE

VI

A

MC

OLI Second Season Apprentice Trained at | English National Ballet School

ME L

ANDRE A

KENNE

Trained at | The Sarasota Ballet Studio Company (19/20) The JKO School at American Ballet Theatre

M

CEL L E T AR T

I

Y

LYN CASS FA A DA

D

APPRENTICES

Trained at | The Sarasota Ballet Studio Company (18-20) Canada’s National Ballet School

E WELLS I AN

Trained at | The Sarasota Ballet Studio Company (19/20) Ellison Ballet Professional Training Program


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Trained at | The Margaret Barbieri Conservatory

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IA RYAN H T

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Trained at | The Margaret Barbieri Conservatory

SMITH R A

SKY

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LILIAN

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Second Season Studio Company Trained at | School of American Ballet

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LLIS

Trained at | The Margaret Barbieri Conservatory

E M OS R

Trained at | Charlotte Ballet

WENDE

E EL

CY

N

Trained at | School of American Ballet

H SC

UDIAM

IS R A

KAT EL

N MARTIN O S

HAR

RI

Trained at | Boston Ballet School Trainee Program

C N Y

CO LI

N

Y

A LL E N

AT

KE N

STUD IO C O M PA N Y

Trained at | The School of Pennsylvania Ballet


30 T H A N N I V E R S A R Y S E A S O N 2020 – 2021

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Trained at | The Margaret Barbieri Conservatory

BRIAN

N T HO M A S JE

ON

Trained at | Orlando Molina Ballet Training Center

TE R R I

A D

CA LE

HERL

KENTI E AR W

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T SU

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N

S T U D I O C OMPANY

Previous Company | Atlanta Ballet 2

The Sarasota Ballet Studio Company provides a stepping stone from pre -professional trainee to Company member. This t wo -year audition- only program provides talented young dancers with a comprehensive curriculum to refine their ar tistic and technical sk ills plus prepare them for The Sarasota Ballet and other national and international companies. Studio Company dancers also have a week ly rotation into Company class, understudy Company roles, and the oppor tunit y to per form with the corps de ballet. Studio Company dancers are ambassadors of The Sarasota Ballet and represent the organization, bringing dance education programs to local schools along with presenting their own reper toire in regular per formances within the local communit y. I n 2019-2020, they created roles in K ate Honea’s Stella Natalis as par t of The Sarasota Ballet ’s collaboration with K ey Chorale. I n addition, they per formed at Marie Selby Gardens as par t of Dali N ights and at Valencia Lak es retirement communit y. Members of The Sarasota Ballet Studio Company have gone on to join The Sarasota Ballet and other professional companies including Ballet H ispánico, Ballet Austin, Croatian National Ballet, Orlando Ballet, The Florida Ballet, and The Washington Ballet.

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2 0 2 0 D I G I TA L FA L L S E A S O N

LES PATINEURS

MÉDITATION FROM THAÏS

MONOTONES II

VISION SOLO

ROMEO & JULIET

TARANTELLA

WESTERN SYMPHONY

SUMMERTIDE

CLAIR DE LUNE THE AMERICAN

FAÇADE

LA CHATTE DONIZETTI VARIATIONS

THE FOUR TEMPERAMENTS MIRROR WALKERS

THE INFERNAL GALOP

CONCERTO

WHO CARES? OTHELLO


MEDIA SPONSOR

DIGITAL PROGRAM 1

23 - 27 OCTOBER 2020

SIR FREDERICK ASHTON CHOREOGRAPHER

Few choreographers have left an imprint quite so deep on the world of British ballet than Sir Frederick Ashton. Born in Ecuador 17 September 1904, he was determined to become a dancer after witnessing Anna Pavlova perform in 1917. Studying ballet with Léonide Massine and Dame Marie Rambert in London, he first delved into choreography under Rambert’s guidance, creating for her Ballet Club. He would later work with Dame Ninette de Valois, founder of the Vic-Wells Ballet, with whom he would continue to collaborate for decades — first as resident choreographer of the company, then as principal choreographer when de Valois’ company received its royal charter in 1957 and was retitled, “The Royal Ballet.” Ashton succeeded de Valois as Director of the Royal Ballet upon her retirement in 1963, a position he would hold until his own retirement in July 1970. After his retirement, Ashton created several short ballets as pièces d’occasion; he died 19 August 1988, leaving behind a vast body of work including more than eighty ballets, and inspiring generations of dancers and choreographers to keep the spirit of British ballet thriving.

INTRODUCTION TO THE FIRST DIGITAL PROGRAM Our first Digital Program of the Season serves as a celebration of the works of Sir Frederick Ashton. With a balletic catalogue spanning over six decades, Ashton’s choreographic career carried the Royal Ballet to success during its formative years, and he left an enormous impression on the world of ballet in the 20th century. A major component of The Sarasota Ballet’s driving force is to preserve and restore historic ballets, especially those of Ashton; as a consequence of the company’s success with these restoration efforts, The Sarasota Ballet has garnered notable national and international attention. Thus, opening our Digital Fall Season with a tribute to his career felt like a perfect match. This program features seven ballets and excerpts spanning Ashton’s career, each selected for its presentability and compatibility with the digital medium.

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LES PATINEURS

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EXTRACTS

First performed by the Vic-Wells Ballet (now the Royal Ballet) 16 February 1937, Les Patineurs depicts a whimsical skating party comprised of a series of divertissements; couples glide across a simulated lake, while a lone Blue Boy, the virtuoso soloist of the ballet, strives to attract his own skating partner. Set to music composed by Giacomo Meyerbeer and arranged by Constant Lambert, Les Patineurs would prove a major success for Ashton and would be performed by the Royal Ballet almost every season through 1968. With a charming effervescence complementing structural complexity, Les Patineurs has become one of Ashton’s signature ballets.

MONOTONES II Created as a gala performance piece in 1965 in benefit of the Royal Ballet Benevolent Fund, Monotones II was inspired by Erik Satie’s 1888 trio of piano compositions, Trois Gymnopédies. A pas de trois of two men and one woman, the 24 March premiere was danced by Vyvyan Lorrayne, Sir Anthony Dowell, and Robert Mead. White-clad, above-lit dancers move with an ethereal air, coupling Ashton’s clean lines of form with a touch of weightlessness. The initial success of the work was sufficiently significant to inspire Ashton to expand the piece the following year, employing Satie’s Gnossiennes, with what would become known as Monotones I.

MÉDITATION FROM THAÏS This ballet traces its origins to an 1890 novel by Anatole France, based on the life of its namesake 4th-century Saint Thaïs of Egypt. It was first adapted into an opera, Thaïs, in 1894 by Jules Massenet to a libretto by Louis Gallet; the opera has since become known for, among other elements, an emotionally potent second-act instrumental intermezzo, Méditation. In 1971 Ashton created a pas de deux on Dame Antoinette Sibley and Sir Anthony Dowell around this Méditation for a gala performance at the Adelphi Theatre. A “vision scene” unrelated to the plot of the opera, Méditation from Thaïs was glowingly received, with Dame Marie Rambert considering it one of Ashton’s three masterpieces.

LA CHATTE MÉTAMORPHOSÉE EN FEMME A ballet solo created on Merle Park for a performance in Vienna on 31 March 1985, La Chatte métamorphosée en femme (titled Die verwandelte Katze for its original production) draws themes from an 1858 opéra comique of the same title, as well as the opera’s music by Jacques Offenbach.

THE SLEEPING BEAUTY

VISION SOLO

A production of the original 1890 ballet choreographed by Marius Petipa with a score by Pyotr Ilyich Tchaikovsky, The Sleeping Beauty premiered with Sadler’s Wells Ballet at the Royal Opera House 20 February 1946 with significant choreographic additions by Ashton as well as Dame Ninette de Valois. Ashton would continue to revise the ballet’s choreography over the years; for a 1952 performance, he created a new variation for Aurora, including this Vision Scene, on Dame Beryl Grey.

ROMEO & JULIET

BALCONY PAS DE DEUX

A rich, intimate treatment of Shakespeare’s iconic romantic tragedy, Ashton’s version of Romeo & Juliet was created for the Royal Danish Ballet and first performed 19 May 1955. Ashton choreographed Romeo & Juliet with a smaller stage in mind, encouraging the audience to direct their attention to the dramatic subtleties and deep characterization. The balcony scene in particular has since been reproduced for gala performances and other events, putting on full display the chemistry and interplay between its titular leads.

FAÇADE

FOXTROT, VALSE, TANGO-PASODOBLE

An early Ashton piece first performed by the Camargo Society 26 April 1931, the ballet Façade is a loose adaptation of a series of poems of the same name by Dame Edith Sitwell, set to music originally composed by William Walton for Sitwell’s debut recitation of her poetry. A plotless oneact ballet initially comprised of seven divertissements, with three more added by Ashton over the decade following its premiere, Façade serves as a prototypical display of Ashton’s signature wit and charm, Ashton himself dancing in the original cast for several divertissements including the Tango-Pasodoble.

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DIGITAL PROGRAM 2

20 - 24 NOVEMBER 2020

GEORGE BALANCHINE CHOREOGRAPHER

Born Georgiy Melitonovich Balanchivadze on 22 January 1902 in Saint Petersburg, Russia, George Balanchine would become a significant choreographic force in the United States, primarily stemming from his thirty-five-year tenure as co-founder and Artistic Director of New York City Ballet. His early years were spent studying and performing ballet across Europe, for several years also serving as choreographer and ballet master of Sergei Diaghilev’s Ballets Russes. Though a knee injury would end his performing career, and bankruptcy after Diaghilev’s death ended the Ballets Russes, Balanchine continued choreographing and staging ballets with the Ballets Russes de Monte-Carlo. Upon his arrival to the United States in 1933, he quickly went about founding the School of American Ballet, with Lincoln Kirstein’s assistance. After this, he would begin choreographing Broadway musicals and, later, Hollywood films, coinciding with a company relocation to Hollywood in 1938. With Kirstein, he would found the Ballet Society in 1946, a dance company which would later spin off and evolve into New York City Ballet, where Balanchine would remain until his death 30 April 1983. Renowned for his musicality, he would frequently work with major composers and musicians of his era and sculpt his choreography meticulously around the score. His contributions to the world of dance in the 20th century would result in him often being styled as, “the father of American ballet.”

INTRODUCTION TO THE SECOND DIGITAL PROGRAM Balanchine’s prolific creative output comprises a significant segment of neoclassical ballet choreographed in the United States during the 20th century. Many of these works are shaped around deeply American themes and motifs, as Balanchine was keen on celebrating the cultural tropes of his adopted home country. Our second Digital Program reflects Balanchine’s uncanny ability to capture musical themes and tones via the visual medium of ballet. From the dusty town roads of the Old West to the bustling streets of New York, with a brief tour of Italy in between, this Balanchine-focused Digital Program brings us through some of the legendary choreographer’s favorite destinations.

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DONIZETTI VARIATIONS

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PAS DE DEUX

Created for a New York City Ballet program, “Salute to Italy,” in celebration of Italy’s unification centennial anniversary, Donizetti Variations premiered 16 November 1960 alongside La Sonnambula and Monumentum Pro Gesualdo. While the latter two ballets of the program were somber in tone, Donizetti Variations was infused with cheer and sunshine to balance them out. The music—as well as the ballet’s namesake—is sourced from Gaetano Donizetti’s Don Sebastien, an 1843 opera.

TARANTELLA This intense pas de deux, intended as a showcase for New York City Ballet dancers Patricia McBride and Edward Villella, was first performed 7 January 1964 at the New York City Center. An arrangement of Louis Moreau Gottschalk’s Grande Tarantelle, based on the fast-paced tarantella folk dance form popular in Southern Italy and Argentina, was prepared by Kay for the ballet. Due to its classical technical flair, Tarantella has been frequently revived as a gala and festival performance piece.

WESTERN SYMPHONY

2ND MOVEMENT (ADAGIO)

Balanchine’s rollicking tribute to the Old West, Western Symphony was created for New York City Ballet and premiered 7 September 1954. The accompanying score, arranged by frequent NYCB collaborator Hershy Kay, includes an assortment of classic American folk songs reminiscent of the era. Balanchine was inspired to craft a “love letter” ballet to the Western films he had grown to adore after his 1933 arrival to the United States; cowboys and dance hall girls combine classical ballet forms with square dance gestures in this ballet as charming in character as it is outstanding in technique.

THE FOUR TEMPERAMENTS

EXTRACTS

Created for the fledgling Ballet Society, the forerunner of New York City Ballet, and part of the company’s inaugural performance on 20 November 1946, The Four Temperaments draws inspiration, as well as its title, from the four personality types—melancholic, sanguinic, phlegmatic, and choleric—associated with the archaic “humoural” theory of medicine. Balanchine had commissioned the score from German composer Paul Hindemith in 1940, with the intention of performing it himself for friends and guests at evening social occasions. The success of this modernist work, as well as several others over the following couple years, would lead to securing company residency at the New York City Center and officially changing the organization’s name to New York City Ballet.

WHO CARES?

EXTRACTS

In 1937, Balanchine was in discussion with composer and pianist George Gershwin to collaborate on a ballet project, after their joint efforts on the Hollywood musical film, The Goldwyn Follies; these plans, however, would never come to fruition due to Gershwin’s untimely passing that year. Thirty-three years later, Balanchine created Who Cares? incorporating sixteen of Gershwin’s popular works, as a tribute to both Gershwin himself as well as New York City. Upon its opening night 7 February 1970, Balanchine received the Handel Medallion, New York’s highest cultural award, in recognition of his contributions to the performing arts.

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MEDIA SPONSOR

DIGITAL PROGRAM 3

1 - 5 JANUARY 2021

INTRODUCTION TO THE THIRD DIGITAL PROGRAM In a departure from our first two Digital Programs, our December Program represents the choreographic breadth achieved through The Sarasota Ballet’s expansive repertoire, as well as the myriad artistic voices that have shaped our Company over these past thirty years. These artists include many of the choreographic masters of the 20th century, such as Sir Kenneth MacMillan and Sir Peter Wright, as well as forces sculpting the landscape of ballet today – Sir Matthew Bourne, Dominic Walsh, and the Company’s own Resident Choreographer Ricardo Graziano, among so many others.

SUMMERTIDE

PAS DE QUATRE

Sir Peter Wright’s Summertide is an abstract expression of Mendelssohn’s mesmerizing Piano Concerto No. 2, from the awakening of a new day through the languid beauty of an afternoon in the sun, to the exhilaration of a summer’s night. Choreographed for the Sadler’s Wells Royal Ballet in 1976 with the principal role created on Margaret Barbieri, Summertide saw its revival with The Sarasota Ballet in 2015, bringing Wright’s enrapturingly beautiful work to a new American audience.

CLAIR DE LUNE This dazzling solo, set to Claude Debussy’s eponymous piano suite movement, was created by Dominic Walsh for his Dominic Walsh Dance Company; it premiered 29 April 2011 as part of the Company’s presentation by The Sarasota Ballet.

THE MIRROR WALKERS This enrapturing pas de deux was created by Sir Peter Wright for Stuttgart Ballet and first performed 27 April 1963. Choreographed to Tchaikovsky’s Suite No. 1 for Orchestra in D major, Op. 43, The Mirror Walkers seamlessly combines rich musicality with understated elegance, dancers clad in stark-white physically manifesting the score in a passionate display of fluid grace. 98


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OTHELLO In creating a thirty-minute ballet inspired by Shakespeare’s Moor of Venice, set to Liszt’s dramatically-charged score, Peter Darrell caught the essence of the central conflict between its five principal characters and made some bold choices that work in purely dance terms. The ballet opens formally, with Iago presented almost as a sinister Master of Ceremonies, introducing the tragic quartet of characters, handling the stage properties (goblets, handkerchief, etc.), controlling the action throughout. The first scene establishes the characters and develops Iago’s plot to achieve the hero’s downfall. Darrell’s articulate choreography and mime bring to life the familiar actors in the drama, leading to Cassio’s drunken fall from grace and Othello’s jealous confrontation with his innocent wife Desdemona. After a brief duet for Emilia and Desdemona, the second scene presents the final, fatal encounter when Othello strangles Desdemona (in the ballet, with the very handkerchief Iago has duped him into accepting as evidence of her guilty amour with the disgraced Cassio), before his realization and suicide. The ballet ends where it began, with Cassio and Emilia seated in formal attitudes and Iago, clutching his “motiveless malignancy”…or is it grief? The ballet does not seek to present all the characters and complete action of Shakespeare’s famous tragedy, opting instead for a powerful, formal and intimate summary of the interaction between Othello, Desdemona, Emilia, Cassio and Iago. Nor did Peter Darrell give us a “moor” in the traditional pattern: his Othello is the danseur noble of the great tragic ballet tradition (think Swan Lake’s Siegfried or Giselle’s Albrecht), rather than Shakespeare’s exotically black-visaged outsider. Replacing words with dance, Darrell presents Othello’s flawed nobility, gorgeously poetic language and over-powerful imagination in terms of the romantic ballet dancer, rather than the orthodox actor of dramatic tradition.

PETER DARRELL CHOREOGRAPHER

Peter Darrell (1929-1987) was one of a group of young choreographers who emerged from the Sadler’s Wells (later Royal Ballet) School shortly after the war, and joined the more experimental Sadler’s Wells Theatre Ballet. In 1957 he joined with the choreographer Elizabeth West to form a new touring company, Western Theatre Ballet, based in Bristol, with a repertory of dance-dramas on contemporary themes. Following West’s death in 1962, Darrell oversaw the company’s eventual move in 1969, for financial reasons, to Glasgow, becoming Scottish Ballet, which required a more mainstream repertory. But in addition to bringing in ballets by a variety of choreographers, he created a number of new ballets including several evening-length works in addition to his new versions of standard works like Swan Lake and Giselle, and his 1972 Tales of Hoffman was restaged by American Ballet Theatre in 1973. Because he worked primarily with companies outside London, Darrell never achieved the reputation of such contemporaries as Cranko and MacMillan. But he had, nevertheless, a major impact on the growth of audiences for ballet in England and Scotland as well as pioneering the treatment of themes long considered outside the realm of ballet.

THE AMERICAN

PAS DE DEUX

Inspired by the tranquility and sense of space of the Great Plains and open sky of the U.S. countryside, The American combines Christopher Wheeldon’s signature arching lifts and sweeping arabesques with Antonín Dvořák’s rich String Quartet #12 in F Major, Op. 96, nicknamed the American Quartet. First performed by Carolina Ballet in 2001, the ballet elicits imagery of idyllic peach and bucolic splendor.

THE INFERNAL GALOP

MERMAN SOLO

An earlier work in Sir Matthew Bourne’s choreographic catalogue, The Infernal Galop premiered in 1989 with Bourne’s company, Adventures in Motion Pictures, to mark the bicentennial of the French Revolution. A comic ballet of French tropes and iconography viewed through a distinctly English lens, Bourne’s The Infernal Galop comprises a series of vignettes—two lovers engaged in an overblown romantic spectacle, a fashion show replete with pretense, an all too curious trio of men by a pissoir—all set to popular French cabaret songs. This Program features the “Merman Solo,” set to Charles Trenet’s La Mer (The Sea), in which a dressing gown-attired gentleman of the ocean tantalizes three sailors.

CONCERTO

PAS DE DEUX

When Sir Kenneth MacMillan was appointed Director of Ballet at the Deutsche Oper Berlin in 1966, Concerto was one of two new works he created for his first program. Greeted with a standing ovation and ecstatic reviews, Concerto was an immediate success, requested by The Royal Ballet, Royal Swedish Ballet and American Ballet Theatre. The ballet is plotless, with the dancers in tights and short tunics and brightly lit except for the atmospheric second andante movement. MacMillan chose the piano concerto that Shostakovich wrote in 1957 for his 19-year-old musician son, Maxim, and the choreography reflects the score’s fresh, exhilarating exuberance. 99


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

2 0 2 1 D I G I TA L WINTER - SPRING SEASON

BRANDENBURGS

COMPANY B

VALSES NOBLES ET SENTIMENTALES FAÇADE

DONIZETTI VARIATIONS

AMOROSA

THE WALK TO THE PARADISE GARDEN NINE SINATRA SONGS

BIRTHDAY OFFERING


D I G I TA L P R O G R A M 4 29 JANUARY - 2 FEBRUARY 2021

MEDIA SPONSOR


BRANDENBURGS D I G I TA L P R O G R A M 4

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.

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.

Then in 1988 came Brandenburgs, a pure dance piece that, Paul Taylor was born on July 29, 1930 and grew up in and around as its name suggests, uses movements from the beloved Washington, DC. He attended Syracuse University on Brandenburg Concertos: two movements from No. 6 a swimming scholarship in the late 1940s until and all of No. 3. Balancing a solo quartet of a he discovered dance through books at the man and three women with a corps of five University library, and then transferred to men, and drawing on a gracious movement The Juilliard School. In 1954 he began his vocabulary, Brandenburgs has reminded Choreography by company while still dancing for other many viewers of George Balanchine’s Paul Taylor great artists. He joined the Martha Apollo while still developing a character Graham Dance Company in 1955 for all its own. Many of Taylor’s works offer Music by the first of seven seasons as soloist a dark, even despairing view of life Johann Sebastian Bach while continuing to choreograph on and present-day culture. But as the his own troupe. In 1959 he was a guest British critic Mary Clarke wrote soon Costume Design by artist with New York City Ballet, where after its premiere, “Beauty is the only Santo Loquasto Balanchine created the Episodes solo word for Brandenburgs” as it “celebrates for him. the good things in life. Such a radiant Lighting Design by seamless flow of invention that the Jennifer Tipton Mr. Taylor received nearly every choreography seems an entirely natural important honor given to artists in the way of moving to this music.” 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.

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2020 – 2021 S E A S O N

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29 JANUARY - 2 FEBRUARY 2021

JOHANN SEBASTIAN BACH 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 First Performed by in 1750, three of his sons had also become Paul Taylor Dance Company 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.

5 April 1988

First Performed by The Sarasota Ballet 31 January 2020

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.

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C O M PA N Y B D I G I TA L P R O G R A M 4

COMPANY B

PAUL TAYLOR

Just as America began to emerge from the Depression at the dawn of the 1940s, the country was drawn into the Second World War. In a seminal piece of Americana, Paul Taylor recalls that turbulent era through the hit songs of the Andrews Sisters. Although the songs depict a nation surging with high spirits, millions of men were bidding farewell to wives or girlfriends and many would never return from battle. The dance focuses on such poignant dualities. Young lovers lindy, jitterbug and polka, in a near manic grasp for happiness while in the background shadowy figures – soldiers – fall dead. Among the sections of the dance, the one choreographed to “Boogie Woogie Bugle Boy (of Company B)” is carefree until the moment the bugler is shot; the one set to “I Can Dream, Can’t I?” tells of a young lady’s affections for a soldier an ocean away who, for his part, reaches out to a comrade in arms. The dance ends just as it began, with “Bei Mir Bist du Schon” – but the world has clearly changed.

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 “(Company B) evokes the exuberant rhythms of the on a swimming scholarship in the late 1940s until 40’s as well as the grim and persistent shadow of he discovered dance through books at the war. But even more vividly, it honors Taylor’s University library, and then transferred to magnificent dancers. Some of the most The Juilliard School. In 1954 he began his Choreography by glorious dancing to be seen anywhere…” company while still dancing for other Paul Taylor - Laura Shapiro, Newsweek great artists. He joined the Martha Graham Dance Company in 1955 for Songs Sung By the first of seven seasons as soloist The Andrews Sisters while continuing to choreograph on his own troupe. In 1959 he was a guest Costume Design By artist with New York City Ballet, where Santo Loquasto Balanchine created the Episodes solo for him. Lighting Design by

Jennifer Tipton

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.

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26 FEBRUARY - 2 MARCH 2021

THE ANDREWS SISTERS A close harmony trio hailing from Mound, Minnesota, The Andrews Sisters – LaVerne, Maxene, and Patty (née Patricia) – formed when Patty, the youngest of the three, was only seven, quickly rising to local success and eventually going on the road to support the family after the closure of their father’s restaurant. Initially performing as imitators of an earlier popular singing trio, the Boswell Sisters, they would find national attention of their own 1937 with a series of recordings and radio broadcasts, most notably “Bei Mir Bist Du Schön,” an adaptation of a popular Yiddish tune. The next couple years would bring them significant success through a series of best-selling records, and the Andrews Sisters quickly became a household name.

First Performed by Paul Taylor Dance Company 20 June 1991

The timing of their rise to stardom would coincide with the onset of World War II, leaving much of their work inextricable from the period; many of their hits released during this era were themed around the First Performed by military, including “Boogie Woogie Bugle The Sarasota Ballet Boy,” “Don’t Sit Under the Apple Tree (With 16 November 2012 Anyone Else but Me),” and “Rum and Coca Cola.” Touring extensively in Italy and Africa and visiting military bases, war zones, and hospitals, the Andrews Sisters also recorded a series of “Victory Discs” for distribution to Allied fighting forces; their focus on the wartime entertainment effort earned them the moniker, “Sweethearts of the Armed Forces Radio Service.” The Andrews Sisters continued to record after the end of the war, until tragedy would take its toll on their collective career – their mother died in 1948, with their father passing a year later. Both parents were instrumental to the trio’s success, and the group would break up in 1953 in the aftermath, though they would reunite a few years later and tour extensively during the 1960s. LaVerne’s passing in 1967 would mark the end of the trio’s recording career, but their works live on through adaptations of their oeuvre by artists such as Bette Midler, Patti Page, and even modern pop performers like Christina Aguilera.

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D I G I TA L P R O G R A M 5 26 FEBRUARY – 2 MARCH 2021

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D O N I Z E T T I VA R I AT I O N S D I G I TA L P R O G R A M 5

DONIZETTI VARIATIONS

GEORGE BALANCHINE

Although Balanchine could craft an elaborate pas de deux as well as anyone, as with Tchaikovsky Pas de Deux, he generally preferred to surround a central couple with a small corps, making a show-off piece into a small ballet useful for filling out programs. So with Donizetti Variations, first seen November 1960, using ballet music Gaetano Donizetti wrote for his final opera, Dom Sébastien, written in 1843 for the Paris Opera. It comes from the second act, set in an African court and has been called Donizetti’s “finest achievement in the field of music for ballet.” But it wasn’t until the ballet was revised in 1971 with new costumes that most ballet goers recognized how Balanchine was using the nimble footwork typical of August Bournonville, the great nineteenth century Danish choreographer, as preserved in Copenhagen, where Balanchine had spent time on several occasions, first as a guest balletmaster in 1930 and again when his wife, Tanaquil LeClercq, was hospitalized there in 1956 with polio.

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 Choreography by 10 ballets for the company, notably Apollo (1928), which Balanchine later described George Balanchine as the great turning point in his life, and Music by Prodigal Son (1929)—both constantly Gaetano Donizetti revived to this day.

With a corps of nine—six women and three men—Balanchine uses various combinations of three to accompany and offset the central pair, a challenge he always seemed to enjoy. But it’s also a ballet full of small details and hidden technical difficulties for the dancers in the small beats and leaps known as batterie, although such difficulties must look effortless Original Costume Design by in their buoyancy. And there’s also an Karinska unexpected joke for the corps.

After Diaghilev’s death in 1929 and the fragmentation of the Ballets Russes, Balanchine worked in Copenhagen, Lighting Design by This “ballet pure and simple,” as Paris, and Rene Blum’s Ballet Russe de Aaron Muhl Balanchine called it, was created for a Monte Carlo. It was in London during his program celebrating the one-hundredth directorship of Les Ballets 1933 that Lincoln anniversary of Italian independence. It also Kirstein persuaded him to come to America, balanced a more complex ballet having its where they founded the American School of Ballet premiere on the same program, Monumentum pro in New York (1934), out of which emerged The American Gesualdo, set to Stravinsky’s “recomposition” of three Ballet (1935), Ballet Society (1946), and eventually the New York madrigals by the Calabrian composer Don Carlo Gesualdo, a City Ballet (1948). Initially based at City Center, it moved in 1964 masterpiece of a very different kind. 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. 108


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GAETANO DONIZETTI COMPOSER

Before his death in 1848, aged 51, Gaetano Donizetti was an operatic workhorse, writing more than fifty operas. Born in Bergamo in 1797 to a poor family he started his musical education there as a choirboy before studying in Bologna. His career as a working composer began in Naples before his growing reputation took him to other leading Italian opera centers and eventually to Paris and Vienna. His early work reflects the influence of Rossini, especially in its florid treatment of the voice. But while always writing to satisfy the demands of virtuoso singers, with maturity he developed a stronger balance between the florid vocal line and dramatic values, and also First Performed by the handling of larger musical units. His New York City Ballet only ballet music comes from the three 16 November 1960 grand operas written for the Paris Opera, which required a ballet. First Performed by

The Sarasota Ballet After a period of neglect, in which Donizetti’s style was considered old23 April 2010 fashioned and only a few of his operas remained in the standard repertory— notably Lucia di Lammermoor, L’Elisir d’Amore, Don Pasquale, and La Favorite—more recently audiences have rediscovered many of his other works through performances and recordings as part of a revival of interest in Italian Romantic opera that also includes the operas of Rossini and Bellini.

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.

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AMOROSA

D I G I TA L P R O G R A M 5 | 2 6 F E B R U A R Y - 2 M A R C H 2 0 2 1

AMOROSA

RICARDO GRAZIANO

A January 2019 ballet by The Sarasota Ballet's Resident Choreographer Ricardo Graziano, Amorosa sets five couples clad in crimson and black to extracts from Antonio Vivaldi's Cello Concertos. This performance marks the first occasion for which Amorosa has been performed since its World Premiere.

ANTONIO VIVALDI COMPOSER

A major composer of the Baroque era and virtuoso violinist, Antonio Lucio Vivaldi was born on 4 March 1678 in Venice, learning violin performance from his father, Giovanni Battista Vivaldi, and touring from a young age.

CHOREOGRAPHER

Ricardo Graziano started dancing when he was 8 years old in his hometown of Mogi das Cruzes, Brazil. At the age of 16 he won a scholarship to study at the Academie des Tanzes in Mannheim, Germany, and in 2005 joined Tulsa Ballet. In 2010 Graziano joined The Sarasota Ballet as a Soloist, and in 2011 was promoted to Principal. Also in 2011 Graziano was given the opportunity by Iain Webb to choreograph his first ballet, Shostakovich Suite, which premiered in October 2011. Following this ballet, Graziano choreographed four new ballets before being appointed Resident Choreographer by Iain Webb in 2014 after a performance of Symphony of Sorrows. Since then he has choreographed three more works for the Company, including In a State of Weightlessness, which premiered 12 August 2015, as a part of The Sarasota Ballet’s first weeklong residency at the Jacob’s Pillow Dance Festival.

Vivaldi would find employment with the Ospedale della Pietà, an orphanage and music school in Venice, where he would serve as maestro di violino (master of violin) and soon be regarded as a notable technical violinist as well as composer. His early compositional His other works for The Sarasota Ballet include successes, primarily including collections Pomp and Circumstance for The Sarasota of sonatas for violins and basso continuo, Choreography by Ballet’s March 2013 Gala, Valsinhas in would contribute to his eventual Ricardo Graziano May 2013, Before Night Falls in February promotion to maestro de’ concerti 2014, En las Calles de Murcia in March (music director) in 1716. The following Music by 2015, Sonata in Four Movements in year, he was offered employment by Antonio Vivaldi August 2016 at the 1932 Criterion Prince Philip of Hesse-Darmstadt, Theatre in Bar Harbor Maine, and The governor of Mantua in northwest Costume Design by Jolly Overture and Somewhere for The Italy, producing several operas and Jerry Wolf and Ricardo Graziano Sarasota Ballet’s April 2018 Gala. writing his famous Four Seasons series of four violin concertos over the course In total, Graziano has choreographed Lighting Design by of the following few years. eight, one-act ballets and three Aaron Muhl divertissements. At the height of his popularity, Vivaldi was frequently commissioned by European royalty and nobility; in 1725, he created the cantata Gloria e Imeneo in celebration of the marriage of Louis XV. Several years later, he would meet Holy Roman Emperor Charles VI, to whom Vivaldi’s Opus 9, La Cetra, was dedicated, and this chance meeting would lead to a knighthood and invitation to Vienna. He traveled to Vienna and Prague with his father in 1730 to present his wildly popular opera Farnace, and would collaborate with Italian authors Pietro Metastasio and Carlo Goldoni on later operas. The death of Charles VI in 1740, however, would lead to a loss in steady income and eventual poverty for Vivaldi. He died on 28 July 1741 of “internal infection,” and while much of his work has since been lost, recent rediscovery efforts have led to renewed popularity.

Commisioned by The Sarasota Ballet First Performed by The Sarasota Ballet 25 January 2019 110


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VALSES NOBLES ET SENTIMENTALES D I G I TA L P R O G R A M 6

VALSES NOBLES ET SENTIMENTALES Maurice Ravel admitted his own fascination with the waltz, a folk dance formerly banned by the Pope (its dancers grasped each other around the waist!) and firmly identified with the early 19th century Romantic movement. “The title sufficiently indicates my intention to compose a succession of waltzes, after Schubert’s example” wrote Ravel, referring to Schubert’s earlier use of the same title. The composer intended his homage to Schubert to be at the same time nostalgically retrospective and entirely contemporary: Ravel always liked to startle and surprise, and he was interested in modernism and jazz, as we can hear in his later piano concerti. The music writer Roger Nichols summed up Valses nobles et sentimentales perfectly, as offering “nostalgia without incoherence, sentiment without sentimentality.”

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 In 1906 Ravel started work on his waltz project, culminating Wells and ultimately The Royal Ballet. Besides his pre-war ballets in his 1919 La Valse. Before then, he had presented his at Sadler’s Wells (which demonstrated an increasing authority, Valses nobles et sentimentales in an anonymous 1911 Paris with larger resources), Ashton choreographed for revues competition, dedicated to the pianist Louis Aubert, and musicals. His career would also embrace opera, where the audience attributed it to Zoltan Kodaly film, and international commissions, creating or Erik Satie while greeting it with booing and ballets in New York, Monte Carlo, Paris, catcalls. Ravel orchestrated his waltzes in Copenhagen, and Milan. During the War, Choreography by 1912 for Diaghilev’s Ballets Russes as he served in the RAF (1941-1945) before Sir Frederick Ashton Adélaïde, ou le langage des fleurs. creating Symphonic Variations for the Ashton had used Valses nobles et Sadler’s Wells Ballet’s 1946 season in its Music by sentimentales for his 1935 Valentine’s new home at Covent Garden, affirming Maurice Ravel Eve for Ballet Rambert, and he revisited a new spirit of classicism and modernity Ravel’s ravishing, swooning score for in English postwar ballet. Design by his new 1947 piece for Sadler’s Wells Sophie Fedorovitch During the next two decades, Ashton’s Theatre Ballet, which encapsulated ballets, often created around the talents the postwar yearning for glamour, style Lighting Design by of particular dancers, included: Scènes de and elegance in a Britain bankrupted Aaron Muhl ballet, Cinderella (1948), in which Ashton by World War II and still dominated by and Robert Helpmann famously played the austerity and rationing. Ugly Sisters, Daphnis and Chloe (1951), Romeo Sophie Federovitch designed Ashton’s ballet and Juliet (1955), and Ondine (1958). He created against an abstract décor of screens and silhouetted La Fille mal gardée (1960) for Nadia Nerina and David palms, suggesting a ballroom, with luscious velvet and Blair, The Two Pigeons (1961) for Lynn Seymour and Christopher tulle costumes in maroon and pink, redolent of both the Gable, Marguerite and Armand (1963) for Dame Margot Fonteyn original 1830s Romantic ballet and the exhilarating Parisian and Rudolf Nureyev and The Dream (1964) for Dame Antoinette catwalk designs of Christian Dior’s 1947 New Look, with Sibley and Sir Anthony Dowell. its elegantly exaggerated feminine tailoring and extravagant Appointed Associate Director of The Royal Ballet in 1952, Ashton yards of swirling skirts. Nothing could have captured so succeeded Dame Ninette de Valois as Director from 1963 to 1970. completely the glamorous, escapist dreams of a glumly Under his direction the company rose to new heights, while his rationed postwar Britain. choreographic career continued with Monotones II (1965), Jazz Calendar, Enigma Variations (1968), A Month in the Country (1976) and the popular film success The Tales of Beatrix Potter (1971) in which he performed the role of Mrs. Tiggy-Winkle. He was knighted in 1962. Named Founder Choreographer of The Royal Ballet, Sir Frederick Ashton died in 1988. His ballets, which remain in the international repertoire undiminished, show a remarkable versatility, a lyrical and highly sensitive musicality. He had an equal facility for recreating historical ballets and creating new works. If any single artist can be said to have formulated a native English classical ballet style and developed it over a lifetime, it is Sir Frederick Ashton. 112


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MAURICE RAVEL

SOPHIE FEDOROVITCH

COMPOSER

DESIGNER

France’s most acclaimed 20th century composer was born in Ciboure (in the French Basque province adjoining Spain) on 7 March 1875 to a Swiss father and Basque mother, but grew up in Paris, where he studied music at the Conservatoire under Fauré and was influenced by Debussy’s Impressionism. His diverse interests extended to American Jazz, African and traditional folk music—and especially Spain, for which country’s music he developed a particular affection and affinity. Ravel enjoyed an equal talent for piano and orchestral composition.

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, 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 First Performed by all unnecessary and irrelevant details.”

The first decade of the 20th Century saw his Pavane pour une enfante défunte (1889), String Quartet (1903), Introduction and Allegro for Piano, Harp and Flute (1905), Rhapsodie Espagnole (1907), the Sadler's Wells Theater Ballet opera L’Heure Espagnole (1907) and 1 October 1947 the admired piano works Jeux d’Eau (1901), Miroirs and Sonatine (1905). First Performed by The following decade saw his career The Sarasota Ballet blossom, with a major Diaghilev/Fokine 24 February 2012 ballet Daphnis et Chloé (1912), Mother Goose (1912) and important piano works Valses nobles et sentimentales (1911) and Le tombeau de Couperin (1917), which pre-dated Stravinsky’s neoclassical innovations. Ravel continued to work successfully throughout the 1920s, developing his interest in the waltz form, neoclassicism, Spanish and jazz music, with works including La Valse (1920), Bolero (1928), the opera L’enfant et les sortilèges (1925) and his milestone Piano Concerti for Left Hand (1930) and Piano Concerti in G (1931). He also made a superb 1922 orchestration of Mussourgsky’s Pictures at an Exhibition (1922). In 1928 Ravel made a wildly successful American tour of 25 cities, famously refusing Gershwin’s request to study under him: “Why be a second-rate Ravel when you can be a first-rate Gershwin?”

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THE WALK TO THE PARADISE GARDEN D I G I TA L P R O G R A M 6

THE WALK TO THE PARADISE GARDEN Sir Frederick Ashton’s The Walk to the Paradise Garden was originally choreographed for the Royal Ballet Benevolent Fund Gala on the 15th of November 1972. While created as a pas de deux, the piece involves three dancers with its original cast featuring Merle Park and David Wall as the lovers, and Derek Rencher as the imposing and statuesque figure of death. In the original gala program, the piece was described in a simple sentence that read, “The walk to the paradise garden may be regarded as an orchestral Liebestod for the doomed lovers.” The score is from Delius’ opera A Village Romeo and Juliet, which also serves as the thematic inspiration for the pas de deux. Reviewing at the time of the ballet’s premiere, esteemed dance critic John Percival wrote that Ashton “caught the mood of the Delius music perfectly although seeing deeper into it than his audience perhaps expected.”

FREDERICK DELIUS

COMPOSER

Frederick Theodore Albert Delius was born in 1862 in Bradford, England to a prosperous mercantile family. Although he grew up in a musical household and was taught to play violin and piano at a young age, Delius’ father opposed music as a profession and, in Delius’ early twenties, sent him to Florida to manage an orange plantation. In his spare time, Delius developed further his musical interests and was exposed to African-American music, which would influence his early work. He soon neglected his managerial duties and in 1886 returned to Europe and settled at Grez-sur-Loing, France with painter Jelka Rosen, who later became his wife. Over the course of his creative career, Delius developed a style easily recognizable and unlike the work of any other. In 1929 a music critic from The Times wrote that Delius "belongs to no school, follows no tradition and is like no other composer in the form, content or style of his music." This "extremely individual and personal idiom" was, however, the product of a long musical apprenticeship, during which the composer absorbed many influences.

The pas de deux opens with the young lovers on the ground basking in the aftermath of their love, their passion and adoration for each other expressed through the rhapsodic movements of His final years brought blindness and Ashton’s choreography. Designer William Choreography by paralysis, the result of an early syphilitic Chappell, one of Ashton’s oldest Sir Frederick Ashton infection. Delius died in 1934 at the age collaborators, adorns the pas de deux of 72 and is still regarded as one of the with simple costumes and décor that Music by most distinctive figures in the revival reemphasize the title of the opera Frederick Delius of English music at the end of the that so inspired the piece. Throughout 19th century. the lovers’ dance there are glimpses Design by of impending doom, and as the pas William Chappell de deux reaches its conclusion, Death appears dressed as a chalk-white figure WILLIAM CHAPPELL Lighting Design by with arms stretched wide. Swallowed DESIGNER Aaron Muhl up in the pleats of his cloak, the lovers A gifted and versatile artist who succeeded disappear in Death’s embrace only to be as both dancer and theatre designer, William released as their earthly remains fall dead at (“Billy”) Chappell was born 27 September 1908 in his feet. the English midlands city of Wolverhampton and grew Renowned dance historian David Vaughan wrote in his up in London. He studied painting at Chelsea Art School where book Frederick Ashton And His Ballets, “Like Thaïs, it was no mere he met lifelong friend Edward Burra, but through his friendship divertissement but a ballet in miniature, saying as much in a with Sir Frederick Ashton, Chappell soon committed himself to few minutes as many full-length ballets.” 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).

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FAÇ A D E D I G I TA L P R O G R A M 6

FAÇADE Façade is that very rarest of English creatures, an enduringly popular success and at the same time a definitively modern work of art. It began in the Chelsea home of the aristocratic and artistic Sitwell siblings, where the young William Walton was lodging. Walton (who had just been humiliatingly turned down by Diaghilev for a Ballets Russes commission, despite the Sitwells’ enthusiastic promotion) composed a scintillating score of pastiche musical numbers to accompany Edith Sitwell’s avant-garde poems, recited through a megaphone from behind a surrealist front curtain.

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 In that 1931 premiere, Alicia Markova danced the Polka, Lydia larger resources), Ashton choreographed for revues and Lopokova doubled as the Milkmaid and the Tango musicals. His career would also embrace opera, film, dancer, whilst Ashton himself played the Dago. and international commissions, creating ballets Façade’s sophisticated wit caught the mood of in New York, Monte Carlo, Paris, Copenhagen, the twenties; its instant popularity brought and Milan. During the War, he served in Choreography by it into the repertoires of Rambert’s Ballet the RAF (1941-1945) before creating Sir Frederick Ashton Club, the Vic-Wells Ballet (1935, with Symphonic Variations for the Sadler’s Wells Fonteyn’s Polka and Ashton’s Dago Ballet’s 1946 season in its new home at Music by leading the cast), and the Royal Ballet, Covent Garden, affirming a new spirit William Walton from whose repertoire it is never of classicism and modernity in English absent for long. postwar ballet. Original Designs by Ashton made various revisions over John Armstrong During the next two decades, Ashton’s the years. A “Country Dance” was ballets, often created around the talents added in 1935 (and later dropped). The Lighting Design by of particular dancers, included: Scènes de “Foxtrot” dates from 1940, when John Aaron Muhl ballet, Cinderella (1948), in which Ashton Armstrong created new designs after the and Robert Helpmann famously played the original sets and costumes were lost in the Ugly Sisters, Daphnis and Chloe (1951), Romeo Sadler’s Wells Ballet’s dramatic flight from the and Juliet (1955), and Ondine (1958). He created La Nazi invasion of Holland. Following the adoption Fille mal gardée (1960) for Nadia Nerina and David Blair, of Walton’s “Popular Song” as the theme tune for the The Two Pigeons (1961) for Lynn Seymour and Christopher Gable, long-running British TV show “Face the Music,” Façade was Marguerite and Armand (1963) for Dame Margot Fonteyn and performed in 1972 at The Snape Maltings and Sadler’s Wells Rudolf Nureyev and The Dream (1964) for Dame Antoinette Sibley with Peter Pears reciting the Sitwell poems. and Sir Anthony Dowell. But the ballet remains, intact and much-loved. Ashton’s Appointed Associate Director of The Royal Ballet in 1952, Ashton tongue-in-cheek tribute to the Bloomsbury Movement, succeeded Dame Ninette de Valois as Director from 1963 to 1970. Walton’s knowing take on the popular songs and dances of the Under his direction the company rose to new heights, while his twenties, and a generous dash of genteel camp created a very choreographic career continued with Monotones II (1965), Jazz English marriage of high art and sheer enjoyment. 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. Its Aeolian Hall premiere in 1923 was greeted with contemptuous derision, reinforced by Noel Coward’s skit “The Swiss Family Whittlebot” in his popular revue London Calling. But in Frederick Ashton’s choice of Walton’s music for a ballet divertissement created for the Camargo Society in 1931, Façade attained genuine popularity and has never looked back.

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. 116


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WILLIAM WALTON COMPOSER

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

JOHN ARMSTRONG

DESIGNER

Noted especially for his surrealist paintings created as part of the World War II artistic effort by the Ministry of Information, John Armstrong was born on 14 November 1893 in Hastings, Sussex. Though first pursuing an education in law at St. John’s College, Oxford, he would switch to art studies after service with the Royal Field Artillery during World War One. After several commissions including a ballroom frieze at 1 Kensington Palace Gardens, Armstrong would hold his first solo exhibition in 1928 in London.

Armstrong’s work in the 1930s was prolific; alongside a series of semi-abstract paintings with Modernist group Unit Born into a musical family in Oldham Lancashire One as well as posters for Shell and the General Post and largely self-taught, Walton studied the Office, he also designed the sets and costumes works of Stravinsky, Delius, and Sibelius, for Sir Frederick Ashton’s ballet Façade, along and soon began composing. Leaving with several of Sir Alexander Korda’s film First Performed by Oxford after failing his exams in 1920, productions. With the onset of the second the Cambridge Theatre he lived with the Sitwell brothers and World War, Armstrong served as an official 26 April 1931 sister in London, which soon led to the war artist for the War Artists’ Advisory creation of Façade in 1923, with poems Committee, recording bomb damage to First Performed by by Edith Sitwell and Walton’s score, from buildings with paintings such as A Farm The Sarasota Ballet which he arranged the two delightful in Wales and The Elms, showing cottages 25 January 2008 suites for orchestra. In 1931 Ashton and churches with exposed infrastructure borrowed some of this music for his everand broken walls through a surreal lens. popular ballet. After the war, Armstrong focused on a more symbolic approach through his art, creating Wider success followed with the Viola works for the Festival of Britain and elsewhere. Concerto (1929), Belshazzar’s Feast (1931), the He was elected an associate member of the Royal First Symphony (1935), and the Violin Concerto (1939). Academy in 1966, and would continue to paint until his He also began writing film scores, most notably for Olivier’s death on 19 May 1973. Henry V, Hamlet and Richard III. After the War, Walton dedicated many years to his opera Troilus & Cressida (1954), which was not a major success, and so subsequently turned his attention to orchestral works. In 1949, with his Argentine wife Susana, he settled on the Italian island of Ischia, where he died in 1983, shortly after finishing the orchestration for Ashton’s upcoming ballet Varii Capricci.

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B I RT H DAY O F F E R I N G D I G I TA L P R O G R A M 7

BIRTHDAY OFFERING

SIR FREDERICK ASHTON

This delightful ballet, as its title suggests, is very much a pièce d’occasion. It was created to celebrate the 25th anniversary of the company that was about to receive a royal charter and change its name from Sadler’s Wells Ballet to The Royal Ballet. Ashton intended a tribute to the company’s formidable founder, Dame Ninette de Valois, in the great Russian Imperial style of Marius Petipa, which de Valois had inherited through dancing with Diaghilev’s Ballets Russes, and from which tradition she had nurtured the British Ballet.

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 Choreography by Wells Ballet’s 1946 season in its new home Sir Frederick Ashton at Covent Garden, affirming a new spirit of classicism and modernity in English Music by postwar ballet.

Everything about Birthday Offering honours this intentional homage to the Russian Imperial Ballet. Ashton’s choice of Glazunov’s grandly lyrical and distinctively Russian music is matched by Levasseur’s elegant décor of drapes, glittering chandeliers and standing candelabra, reminiscent of some Imperial Russian palaces, and the dancers’ golden costumes. This is definitely the world of the splendid courts presented in Petipa’s ballets The Sleeping Beauty or Swan Lake. The ballet itself is a showpiece, essentially a series of virtuoso displays in the classical tradition – solos, duets and ensemble dances, celebrating the dancers’ different qualities. As the ballet opens, all seven couples make a majestic entrance onto the stage, confident, aristocratic and poised, as they sweep formally across the floor. Ashton then presents a series of solo variations, each one showing off the dancer’s individual style or distinctive qualities. These are followed by the male dancers, in a flamboyant, Polish mazurka, with its strongly emphasised three four rhythm.

Alexander Glazunov

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 Lighting Design by and Robert Helpmann famously played the Ugly Sisters, Daphnis and Chloe (1951), Aaron Muhl Romeo and Juliet (1955), and Ondine (1958). He created La Fille mal gardée (1960) for Nadia At the heart of Birthday Offering lies the stylish Nerina and David Blair, The Two Pigeons (1961) for pas de deux, originally created for Ashton’s Lynn Seymour and Christopher Gable, Marguerite and muses, Margot Fonteyn and Michael Somes, which is Armand (1963) for Dame Margot Fonteyn and Rudolf Nureyev given tender expression by Glazunov’s ravishing cello solo. The and The Dream (1964) for Dame Antoinette Sibley and Sir Anthony ballet ends in a grand finale, danced by the entire company in Dowell. a formal celebration.

Designed by André Levasseur

Birthday Offering expresses the pride and admiration with which Ashton paid tribute to the extraordinary achievement of de Valois’ British Ballet Company in a short quarter-century, from the Old Vic and Sadler’s Wells theatres, through a World War and triumphant American tour, to its 1956 status as the Royal Ballet at the Royal Opera House, Covent Garden.

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. 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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ALEXANDER GLAZUNOV COMPOSER

Alexander Glazunov was born on 10 August 1865 in Saint Petersburg, the son of a wealthy publisher. His precocious musical talent was recognized by many including Nikolai Rimsky-Korsakov, whom he eventually replaced in 1905 as Director of the Saint Petersburg Conservatory. Although he survived the 1917 Revolution on good terms with the Bolshevik government and was a generous supporter of younger composers such as Shostakovich, he left Russia in 1928 and never returned, ostensibly because of his health. Composer of three ballets, eight symphonies, five concerti, piano and instrumental works and songs, he successfully combined the Russian nationalist Romanticism with more cosmopolitan First Performed by Western idioms. Sadler's Wells Ballet

ANDRÉ LEVASSEUR

DESIGNER

5 May 1956

First Performed by The Sarasota Ballet 1 February 2013

Born in Paris 18 August 1927, the French designer André Levasseur is recognized for his modish stage designs, especially for the ballet, in the late 1950s and early 1960s, using a characteristically chic, elaborate, and elegant style. After his first Ashton collaboration A Birthday Offering in 1956, Levasseur went on to create designs for Ashton’s ballets La Péri (1957), La Valse (1958), and Raymonda pas de deux (1962). He also designed Balanchine’s La Sonnambule (1957, Marquis de Cuevas Ballet) and Theme and Variations (1958, New York City Ballet). Other notable ballet designs by Levasseur were for John Taras’ Piege de Lumiere (1964, New York City Ballet) and Joseph Lazzini’s Coppélia (1965, Ballet de Marseilles).

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N I N E S I NAT R A S O N G S D I G I TA L P R O G R A M 7

NINE SINATRA SONGS

TWYLA THARP

Twyla Tharp describes Nine Sinatra Songs as “a long string of gorgeous, romantic duets.” Clement Crisp hailed it as “a portrait in which seven couples incarnate the most correct as well as the most extreme aspects of ballroom behaviour.” For Arlene Croce it was “full of flair and sophistication…a composite of the Great American Prom, and, by extension, a picture of different relationships.” To any audience who has ever seen it, Nine Sinatra Songs is sheer delight, from start to finish, full of surprises and satisfactions. Beneath the mirror-ball, seven couples, each differently characterized and gorgeously costumed in different colours, interpret a classic Sinatra recording. Created at a time when Disco had separated the traditionally-embraced ballroom couple, Ms. Tharp intentionally chose Sinatra's mature recordings from the time “when my parents were still together, when all parents were together, the last time we assumed as a culture that of course men and women lived together and loved for a lifetime.” So the nostalgic romanticism of the swooning love songs is matched by a cynical awareness that love is not forever, that the moment must be seized, that the crooner’s cliches cannot be trusted. Each of the couples dances a variation on this theme, offering us: infatuation, what Ms. Tharp terms “a bastardized tango,” a latenight smooch, effortlessly smooth harmony, a hectic Latin pastiche, the will-they-won’t-they? of That’s Life, and so on, culminating in a reprise of My Way.

CHOREOGRAPHER

Twyla Tharp has choreographed over 135 dances for her own company and for Joffrey Ballet, American Ballet Theater, Paris Opera Ballet, The Royal Ballet, New York City Ballet, Boston Ballet, Hubbard Street Dance, Martha Graham Dance Company, Miami City Ballet and Pacific Northwest Ballet. She has choreographed five Hollywood films: Milos Forman’s Hair (1978), Ragtime (1980), and Amadeus (1984); Taylor Hackford’s White Nights (1985); and James Brooks’ I’ll Do Anything (1994). She has directed and choreographed four Broadway shows: When We Were Very Young (1980), The Catherine Wheel with David Byrne (1981), Singin’ In the Rain (1985), and Movin’ Out (2002).

Among Ms. Tharp’s numerous awards, she has received a Tony, two Emmys, nineteen honorary doctorates, the Vietnam Veterans of America President’s Award, the 2004 National Medal of the Arts, the 2008 Jerome Robbins Prize, and a 2008 Kennedy Center Honor. She is a member of the American Academy of Arts Choreography by and Sciences and an Honorary Member Twyla Tharp of the American Academy of Arts and Songs Sung by Letters.

Frank Sinatra

Born 1 July 1941 in Portland, Indiana, Twyla Tharp was educated and began dance training in California before moving to New York, where she graduated from Barnard College Lighting Design by (1963) with an Art History degree and Jennifer Tipton studied with Martha Graham and Merce Set Design by Cunningham, before joining the Paul Ms. Tharp came straight to Nine Sinatra Taylor Dance Company and forming her Santo Loquasto Songs from intensive research into turn-ofown company Twyla Tharp Dance in 1965, the-century ballroom exhibition dancing for which toured internationally from 1971 to 1988, the movie Ragtime, and while acknowledging when she merged it with American Ballet Theater a long-seated desire to evoke the (later) romantic to re-form a new company in 1991 for a major international glamour of Astaire and Rogers, she also determined to adjust tour of Cutting Up with Mikhail Baryshnikov. Twyla Tharp Dance the traditional partnering by empowering her female dancers toured internationally from 1999 to 2003. into a more proactive or equal role than orthodox ballroom From Twyla Tharp’s distinguished choreographic oeuvre, one allows. might single out landmark works: Deuce Coupe (Joffrey Ballet, It would be tedious to list the endless revivals since its 1973) to Beach Boys music, often credited as the first “crossover” triumphant 1982 premiere by companies all over the world. ballet, Sue’s Leg (1975), Push Comes To Shove (American Ballet Suffice it to say that Nine Sinatra Songs must rank among the Theater, 1976) for Baryshnikov, Nine Sinatra Songs (1982), The most popular and universally welcomed of Ms. Tharp’s many Golden Section (1983), or In The Upper Room (1986). successful dances. Ms. Tharp has written her autobiography Push Comes To Shove (1992), The Creative Habit, and The Collaborative Habit. She has a son and a grandson. She continues to create, write, and lecture.

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Costume Design by Oscar de la Renta


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FRANK SINATRA

OSCAR DE LA RENTA

COSTUME DESIGNER

The father of modern pop singing, An internationally renowned couturier, Francis Albert Sinatra—popularly Óscar Arístides Renta Fiallo, known nicknamed, “Ol’ Blue Eyes”—was professionally as Oscar de la Renta, was born 12 December 1915 in Hoboken, born in Santo Domingo, Dominican New Jersey, the only child of doting Republic on 22 July 1932. Raised Italian immigrant parents. A troubled Catholic in a protective family, he left and delinquent youth, he developed his at eighteen to study painting at the Royal singing gifts by ear; Sinatra never learned to Academy of San Fernando in Madrid, where he would draw read music. His first break came at age twenty when he joined a clothes for newspapers and fashion houses for extra income. local singing trio—through his mother’s persuasion—forming He would eventually secure an apprenticeship with Cristóbal the “Hoboken Four,” quickly becoming their lead singer and Balenciaga, Spain’s most famous couturier and de la Renta’s finding national success. In 1939 he joined the Harry eventual mentor. De la Renta left Spain in 1961 to James band, and later the Tommy Dorsey band, as join fashion house Lanvin in Paris as a couture featured vocalist; he found a role model of sorts assistant. in Dorsey, who inspired him to record over forty songs in 1940 and launch a series of In 1963 de la Renta left for New York to hits. When Sinatra decided to go solo in work for cosmetics mogul Elizabeth Arden. First Performed by 1942, it was to Dorsey’s chagrin, however, Two years later, he took a position with Twyla Tharp Dance due to contract arrangements in Dorsey’s American fashion house Jane Derby; upon 14 October 1982 favor; after a fierce legal battle, Sinatra Derby’s death in August 1965, de la Renta went his own way, never truly resolving took over and would launch his own label. First Performed by the personal dispute by Dorsey’s passing Meeting immediate success, in 1967 and The Sarasota Ballet in 1956. 1968 de la Renta won the Coty Award,

13 April 2012

As a best-selling recording artist during World War II (in which, to his subsequent embarrassment, he did not serve), Sinatra became the heartthrob of the “bobby soxers”, as teenage fans were called at the time. While his recording career flourished in the immediate postwar era, including stardom in Hollywood musicals, often with Gene Kelly (Anchors Aweigh, Take Me Out To The Ballgame, and On The Town), his career would begin to slump by 1950 after the death of his publicist George Evans and public reaction to his personal affairs.

called “fashion’s Oscars,” and in 1973 was inducted into the Coty Hall of Fame. His wildly successful career would span five decades. He was diagnosed with cancer in 2006 and would eventually die of complications from cancer on 20 October 2014, continuing to innovate in the fashion industry until his death through his label that continues today, preserving his legacy.

His career bounced back with a vengeance in 1953, with the movie From Here to Eternity and a series of triumphantly successful albums (Songs for Young Lovers, In The Wee Small Hours, Songs for Swingin’ Lovers!, and Come Fly With Me) for Capitol Records. This success continued into the 1960s, with Sinatra a leading member of the notorious Rat Pack, further movie successes (Ocean’s 11, The Manchurian Candidate), plus a hectic concert and recording schedule. At the age of 55, Sinatra announced his retirement, but consistently returned to the stage and recording studio until 1995. He died in Los Angeles at the age of 82 on 14 May 1998, described by American music critic Robert Christgau to have been “the greatest singer of the 20th century,” and an iconic figure in music to this day.

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BALLET FOUNDATIONS AND TRUSTS 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 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. This production of Peter Darrell's Othello is presented with the cooperation of The Peter Darrell Trust. Sir Kenneth MacMillan's Concerto pas de deux is performed by kind permission of Deborah, Lady MacMillan. Performances of Mr. Taylor's Brandenburgs and Company B are presented by kind permission of the Paul Taylor Dance Foundation, Inc. Twyla Tharp's Nine Sinatra Songs™, choreography © Twyla Tharp.

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A D M I N I S T R AT I O N

SARA ROBINSON

KRISTIE COX

JASON ETTORE Marketing Director

Senior Development Officer

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Finance Director

CHAD MORRISON

Box Office & House Manager

ROD KELLY

LEXIE KLASING

Development Officer

Company Manager

Finance / Office Manager

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MEYBIS CHAVARRIA Video & Graphic Designer

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RACHAEL FISK

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BARBARA EPPERSON Administrative Assistant, Board Liaison

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AMY MILLER

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Development Associate

CARLOS MOREIRA

KATHERINE KNOWLES

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Facilities

Grants Manager

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PRODUCTION

DOUG NICHOLSON

JERRY WOLF

AARON MUHL

MARK NOBLE

Technical Advisor & Consultant from Birmingham Royal Ballet

Head of Wardrobe

Lighting Designer

Production Stage Manager

FRANCESCA MACBETH

ANASTASIYA POFF

ZARA BAROYAN

Production Stage Manager

Rehearsal Pianist

Class Pianist

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E D U C AT I O N S TA F F C H R I S TO P H E R H I R D | 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.

D I E R D R E M I L E S BU RG E R | 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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LAUREN TAYLOR

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MATTISON BEDINGHAUS Full-Time Faculty

ADDUL MANZANO

Full-Time Faculty

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PATRICIA STRAUSS

SARAH KRAZIT

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JULIANA CRISTINA

Part-Time Faculty

ALEXEI DOVGOPOLYI Part-Time Faculty

KATE KULIK

SEA LEE

YSEULT LEGER

SARAH METZLER

Part-Time Faculty

Part-Time Faculty

Part-Time Faculty

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CLAUDIA LYNN RIGHTMIRE

MONESSA SALLEY

KAREN SHAPIRO

JEAN VOLPE

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P R E- P RO F E S S I O NA L P RO G R A M

The Margaret Barbieri Conservatory is a pre-professional program designed to prepare students for a career in The Sarasota Ballet and other national and international companies. Led by Education Director Christopher Hird and Assistant Education Director Dierdre Miles Burger, the Conservatory is named to honor the former Royal Ballet ballerina and now Assistant Director of The Sarasota Ballet, Margaret Barbieri. Our distinguished faculty inspires the students through a curriculum that not only stresses technical excellence but also development of each individual artist.

C OV I D -19 – W E K E E P DA N C I N G! As of March 2020, we moved our students to a virtual platform, offering all students daily classes free of charge through to the end of May. For the 2020-21 school year, students have the choice to dance with us in-person or virtually. Our students have embraced our health and safety guidelines and we are so pleased they are able to continue their training with us.

O F F I C I A L YOU T H A M E R I C A G R A N D P R I X PA RT 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. As well as entering students for YAGP, both Christopher Hird and Dierdre Miles Burger are part of the international jury for the semifinals. The Margaret Barbieri Conservatory is now a popular destination school for young talented students from around the world.

I M AG E S O F DA N C E

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The culmination of our school year is a special performance at the Sarasota Opera House that showcases the talented youth of Sarasota. We are proud to partner with Key Chorale, the Sarasota Youth Opera, the Sarasota Music Conservatory and the Circus Arts Conservatory.


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A new Trainee Program was launched in 2018 for talented students who are preparing for their first steps as professional dancers. Now in its third year, the Program has 25 students, a growth of 150% since its inception. This year we also welcomed 6 male students for the first time. The goal of the Trainees is to join a professional company. At the end of the 2019-20 school year 3 students were selected for The Sarasota Ballet Studio Company. “This is a true testament to the quality of the training at the Conservatory,” says Margaret Barbieri. “We started the Conservatory to bring in talent that would progress into the Company. To have three promoted from a single year really demonstrates the Conservatory’s growth and the caliber of students we are attracting and training. More and more we can look first to the Trainee Program each year to find the next generation of Sarasota Ballet Studio Company members.”

R E C O G N I Z I N G OU R DONORS The Conservatory remains ever grateful to the support of our donors. We particularly recognize Eliza P. Culverhouse and the Muriel O’Neil Fund at the Community Foundation of Sarasota County. Without their support we would not be able to provide the best possible experience for our students and families.

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T H E S A R A S OTA BA L L E T S C H O O L The Sarasota Ballet School provides a comprehensive dance education while inspiring a life-long love of dance for children ages 3 and above. Our experienced professional faculty foster each student’s individual development and make learning creative and fun. Students benefit from the close connection with The Sarasota Ballet, often receiving free tickets to attend Company performances and performing in Company productions such as John Ringling’s Circus Nutcracker and ‘Still Life’ at the Penguin Café.

C OV I D -19 R E S P O N S E Since March 2020, the School offered free online classes to all students through the end of May, followed by weekly online sessions via Facebook Live. As of September 2020, with new health and safety protocols developed in concert with other professional dance schools in the USA, we are now able to hold both in-person and virtual options for students in our beautiful studios in Rosemary Square. We produced a special video for parents outlining our Health and Safety Procedures and our families have been so thankful for the great efforts we are doing to keep our students safe.

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A huge thank you to everyone who donated to our Emergency Fund or as part of the Giving Challenge. It has allowed us to continue offering education for everyone.


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The Sarasota Ballet School is delighted to announce the introduction of the American Ballet Theatre® National Training Curriculum. American Ballet Theatre was designated America’s National Ballet Company by an Act of Congress in 2006. The Sarasota Ballet School faculty are certified to teach level Pre-Primary through Level 3 of the curriculum following completion of a teacher training course led by Dierdre Miles Burger, Assistant Education Director who is also a member of the ABT’s Artistic Board of Examiners. The ABT® National Training Curriculum is a breakthrough program that combines high quality artistic training with the basics of dancer health and child development. The ABT® National Training Curriculum consists of a comprehensive set of age-appropriate, outcome-based guidelines to provide the highest quality ballet training to dance students of all ages and skill levels. “I am delighted that The Sarasota Ballet will be adopting the American Ballet Theatre® National Training Curriculum,” says Cynthia Harvey, Artistic Director of the ABT® National Training Curriculum, and ABT Jacqueline Kennedy Onassis School. “My links with Iain Webb and Margaret Barbieri go back to The Royal Ballet, and I have followed The Sarasota Ballet’s achievements with great interest.”

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S U M M E R B A L L E T E D U C AT I O N S U M M E R 2020 Summer at The Sarasota Ballet School always brings a wonderful variety of students from the USA, Canada, and beyond. As planning for our International Intensive and Summer Camps was in full swing, the pandemic added a new challenge.

V I RT UA L S U M M E R C A M P S Designed for our youngest students, our week-long Summer Camps in 2020 moved online through the new medium of Zoom. Sue Peterson, Children’s Program Head devised movement classes, craft-making, costume design, and dance history that could be delivered virtually. The students were incredibly patient and loved the opportunity to dance from their home dance spaces. Our parents were very thankful: “Bless all your hearts for coming up with a positive solution for a very un-nerving and distressing problem! Thank you and hoping we will all see each other soon.” “Thank you SO much for doing these online classes for the kids! Eliana enjoyed it so much. For some reason she was really scared before the class today and didn’t want to participate because she was so unsure what to expect. So, THANK YOU!!! She loved it, and the second she began dancing and following your steps her eyes were shining! I ‘m so thankful!” 134


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The Sarasota Ballet School is part of a nationwide cohort of professional dance schools and companies and during COVID-19, the dance world came together to develop new health and safety polices to protect students, faculty, and staff so that students could keep dancing. We were thrilled to offer a hybrid International Intensive. Students took class in-studio from 9:30-1:00 every day and then Zoomed in for classes every afternoon. We were one of only a very small handful of professional dance schools to offer an in-studio option, so we were very excited to welcome over 50 students from 18 US states including Florida. The students also had the amazing opportunity to perform on the beautiful Mertz Theatre stage at the FSU Center for the Performing Arts. It warmed the heart to see the students so inspired to perform, with masks and social distancing. We may have been the only program in the country to offer a program-end performance. We recorded and sent the final presentation to all the families. Who would have thought performing in masks would not only be part of their dance experience but also create memories they will never forget.

PA R E N T QUOT E S “A quick note of congratulations for hosting a successful (and safe) summer intensive! The care and consideration you took to provide high level training while ensuring the health and wellness of your dancers was impressive - and notably no easy feat. Well done.” “ Thank you so ver y much for holding this Intensive – I have heard nothing but how wonder ful and challenging this training has been for my daughter. You pulled it off beautifully.”

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A DU LT P RO G R A M The Sarasota Ballet School also offers a continuing education program for adults of all ages. Both in-person and virtual options are available with several levels of training from which to choose. Our adult students all have unique stories to tell and come together to share their passion for dance. Throughout COVID, we offered daily online Zoom classes along with Saturday Facebook Live with Education Director Christopher Hird. Our adult students have been so grateful to keep dancing: “Thank you so much for the Facebook live and Zoom classes. It means so much to be able to keep my ballet going. I love the music and Christopher’s commentary.” “I’m from Boston and being able to take adult classes online is such a gift, especially in these times. I’ll make a donation to your Emergency Fund as well.”

A DU LT P O I N T E C L A S S

“Taking your class this morning left me feeling more alive than I have since I stopped taking class 3 years ago. My heartfelt thanks.”

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.

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SILVER SWANS®

New in the 2019 - 2020 Season, The Sarasota Ballet introduced a dance and movement program for participants over 55. Education faculty are certified by the Royal Academy of Dance to teach Silver Swans® and the classes take place at senior centers in the community.

JOYFUL MOVEMENT THROUGH PARKINSON’S In the fall of 2019, The Sarasota Ballet launched a new program in partnership with The Neuro Challenge Foundation for Parkinson’s that offers free classes for people living with Parkinson’s Disease. The classes are normally offered at The Sarasota Ballet School’s Rosemary Studios and are currently being held virtually.

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DA N C E – T H E N E XT G E N E R AT I O N In 1991, Dance – The Next Generation (DNG) was founded by Jean Weidner Goldstein and was designed as a dance program to directly impact underserved children in the local community. Each year DNG averages an enrollment of around 165 students, from third to twelfth grade, regardless of background, ability, or financial status. DNG is a free program provided by The Sarasota Ballet to the families of children in Title 1 schools who are considered at risk of dropping out. In addition to dance instruction, students are transported in DNG vans from their schools to dedicated facilities where they receive healthy snacks through a partnership with All Faiths Food Bank. They also receive dance clothes and shoes, and participate in an hour of mentor-supervised homework in classrooms and a stateof-the-art computer lab. Initially the focus was on classical ballet instruction, but the program has since expanded to include jazz, dance composition, and elements of dance. But DNG is more than a dance program. The goal was and remains to nurture the development of the entire individual with emphasis on discipline, self-esteem, and the desire for higher education.

D N G G R A DUAT E S C O L L E G E & U N I V E R S I T Y M AT R I C U L AT I O N When students complete the 10-year program, and graduate from high school, those who are academically eligible may apply for a dedicated college scholarship from State College of Florida Manatee-Sarasota, or to receive special scholarship assistance at the University of South Florida SarasotaManatee. Starting in the sixth grade, students have access to further college scholarship opportunities and mentoring through our connection with Take Stock in Children Sarasota. Ave Maria University Bard College Bethune-Cookman College Central Texas College Coker College Florida A & M University Florida Atlantic University Florida Gulf Coast University Florida State University Goucher College Jersey College of Nursing Keiser Career College Kennesaw State University Liberty University Loyola University Mercyhurst University Mountain State University

New World School of the Arts New York University Northwestern 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, SarasotaManatee University of Tampa Valencia Community College

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:

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D N G & T H E I M PAC T O F C OV I D -19

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In March of 2020, the rise of the Coronavirus (COVID-19) pandemic prompted the cancellation of the remaining ten weeks of The Sarasota Ballet’s season. That cancellation resulted in Dance – The Next Generation not being able to complete the remainder of its program. This included cancelling the end of year performance, the final assessments, and all remaining after-school programs. In response to these cancellations, DNG staff moved to an online, virtual format, offering online classes at three levels and promoting a virtual enrichment program. DNG staff worked with the Sarasota and Manatee County School systems to ensure that every student had access to the digital resources necessary to participate in the program by calling each family personally to ensure they had the opportunity to participate. This fall, DNG remains subject to the safety recommendations and guidelines from the CDC and Sarasota and Manatee County School systems. The program is being modified to engage all returning students in either virtual or in-studio classes. To ensure the families of DNG students have the resources they need, electronic tablets have been provided to all students so they can keep dancing!

“With everything going on these past couple months, there’s been so much to worry about. With The Sarasota Ballet stepping up to offer this program at this time, we have one less source of concern, as we know our child can continue to receive the support that has helped her thrive. Thank you for giving us a sense of stability and comfort at a time when it’s so deeply needed.” - DNG Parent 139


COMMUNITY

E N G AG E M E N T

PUBLIC SCHOOLS, PERFORMANCES, & PROGRAMS

We partnered with 59 public schools in Sarasota, Manatee, and for the first time, Charlotte County. During October and February, dancers from The Sarasota Ballet Studio Company and The Margaret Barbieri Conservatory presented Gwendolyn, the Graceful Pig, read by the author, David Ira Rottenberg. Over 5,000 children from pre-K and up had the opportunity to see dance for the first time and we gave out bookmarks to every student, emphasizing the importance of reading. Our annual school matinées showcased the story of The Sleeping Beauty; over 1,800 3rd grade students attended these performances at the Mertz Theatre at FSU Center for the Performing Arts. All students and teachers receive free transportation.

FREE LECTURES, TICKETS & TOURS

Free lectures, free and deeply discounted tickets to The Sarasota Ballet performances, and free backstage tours provide access for over 1,400 people of all ages to explore dance each season. 140

COMMUNITY PERFORMANCES

Curated performances by The Sarasota Ballet Studio Company and The Margaret Barbieri Conservatory celebrate the history of ballet and engage over 2,000 audience members of all ages in the beauty of dance. In 2019-2020 we performed at Marie B. Selby Gardens, Valencia Lakes, and the Museum of Fine Arts, St. Petersburg, among many others.

2020-21 SEASON

The Sarasota Ballet is committed to continuing its reach into the local community. Several existing programs are now running virtually including Joyful Movement Through Parkinson’s and Silver Swans®. In addition, we are planning to ensure all public school students have access to dance through a virtual format as part of EdExploreSRQ.


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THE SARASOTA BALLET believes dance is for everyone. Through Community Engagement programs, we provide access and opportunity at little or no cost. During the 2019-20 season, we enabled over 8,500 students, families, and people of all ages to explore the wonderful world of dance. Here are some highlights of last year:

COMMUNITY PARTNERS EDUCATION:

Sarasota Public Schools (32) Manatee Public Schools (17) Charlotte Public School (10) Florida State University New College of Florida New College Children’s Center Osher Lifelong Learning College Ringling College of Art USF Sarasota - Manatee Visible Men Academy

CULTURAL INSTITUTIONS:

Arts and Culture Alliance of Sarasota County Ft. Myers Symphony (Southwest Florida Symphony) Key Chorale Marie Selby Botanical Gardens Museum of Fine Arts, St. Petersburg

Music Compound Origami Air Sailor Circus/Circus Arts Conservatory Sarasota Opera Sarasota Youth Opera Sarasota Orchestra Sarasota Music Conservatory

COMMUNITY DISTRICT ORGANIZATIONS:

PUBLIC LIBRARIES:

SERVICE ORGANIZATIONS:

Fruitville Public Library Shannon Staub Public Library Braden River Library

SENIOR CENTERS:

Aviva Senior Life Plymouth Harbor The Glenridge on Palmer Ranch Valencia Lakes Retirement Community

Downtown Sarasota Alliance Greater Sarasota Chamber of Commerce Manatee Chamber of Commerce Venice Art Walk Visit Sarasota County

All Faiths Food Bank Big Brothers Big Sisters of Sarasota County Big Brothers Big Sisters of Manatee County Child Protection Center Johns Hopkins All Children’s Hospital Junior League of Sarasota Neuro Challenge Foundation Take Stock in Children Sarasota County 141


YO U R S P E C I A L I N V I TAT I O N 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 • Through your volunteer efforts, learn more about how the Company works

MAKE CONNEC TIONS

S H A R E T H E PA S S I O N

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:

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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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V O LU N T E E R O P P O RT U N I T I E S 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. 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 atrisk 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.

LU N C H E O N S A N D S P E C I A L E V E N T S 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. I N F O R M AT I O N A N D A D V O C A C Y 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 COMMIT TEE President Patricia Golemme 508.735.7882

EX OFFICIO Richard Johnson Board Chair, The Sarasota Ballet

Vice President Melliss Swenson

941.951.6319

Frank Martucci Board President, The Sarasota Ballet

941.242.2554

Iain Webb Director, The Sarasota Ballet

941.922.8498

Joseph Volpe Executive Director, The Sarasota Ballet

941.343.7117

Chad Morrison Liaison, The Sarasota Ballet

Secretary Peggy Sweeney Treasurer Elaine Foster Past President Richard March

S TA N D I N G C O M M I T T E E C H A I R S OUTREACH Andi Lieberman Carolou Marquet

630.862.4681 941.355.1842

COMMUNICATION Christina Cowell

732.688.7205

DANCERS’ SUPPERS Peggy Sweeney Laurie Fitch

941.242.2554 941.925.7391

EDUCATION LIAISON Bruce Ensinger

740.228.1464

SPECIAL EVENTS Donna Maytham

941.351.5361

MEMBERSHIP Betty Ferguson

r 941.497.7841

RESERVATIONS Phyllis Myers

941.360.0046

SPONSORSHIP DEVELOPMENT Laurie Feder

203.952.7617

THEATRE SUPPORT Melliss Swenson

941.951.6319

VOLUNTEER COORDINATOR Vielka Sheppard

813.695.3560

SPECIAL SERVICES Katie Couchot (Administraiton) Jane Sheridan (Newsletter) Micki Sellman (Telephoning)

941.475.6475 508.367.4949 941.954.8791

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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.

Catha Abrahams Nancy Abrams Ken & Peggy Abt Priscilla Adams Andrea (Pandy) Anderson Richaed & Patricia Anderson Elaine & Robert Appel Maryann Armour Natalie Armstrong Carol Arscott Shari & Steve Ashman Elaine Bankoff Ruth A Barker Marge Barpal Jocelyn & Nick Isabel A. Becker Rhoda & Herb Beningson Kacy Carla Bennington Charlotte Bimba Shirley Blair Barbara Blumfield Robert Boyd Arline Breskin Susette T. Bryan Beverly & Michael Budin Diana Cable Paul Cantor & Michelle Roy Peter & Judy Carlin Frank Cerullo Lynn C. Chancer Carol Chawkins Marsha Chernick Barbara Chertok Victoria & Frank Chester Barbara Chin Dennis Ciborowski & Meryl Gale Saul & Naomi Cohen Jonathan Coleman Juanita Connell Evelyn & Glenn Cooper Pat Corson Katie Couchot Sandra Cowing Kristie Cox Donna Swoyer-Cubit Colleen Curran 144

Donna Marie D'Agostino Jacqueline & Harold D'Alessio Mrs. Lucille R. D'Armi-Riggio Susan Loren Davidson Gail Davies James & Leila Day Robert de Warren Louis DeFrancesco & Anne Heim Kay Delaney & Murray Bring Dolly Delvecchio JoAnne DeVries Diane DiBenedetto Lynda Doery Carolyn & Thomas Drew Barbara Dubitsky Linda Elliff Douglas Endicott Bruce Ensinger & Clark Denham Barbara E. Epperson Sharon Erickson William & Janice Farber Laura Feder Shirley Fein Ann Fenton Elizabeth Ferguson Sandy Fink Linda Fiorelli Beverly Fisher Laurie Fitch Bert Fivelson Marjorie Floyd Karol Foss Elaine Foster Suzanne Freund Mikal H. Frey Jennifer Gemmeke Jerry Genova & Bob Evans Randee Gevertz Kathryn Gibby Susan Giroux Linda A. Glover Nancy Gold Ellen Goldman Faith Goldman Patricia Golemme Kathryn Goodwin

Sue M Gordon Barcy Grauer & Bruce Wertheimer Bob Griffiths & David Eichlin Debbie Grovum Helen & John Habbert Renee Hamad Gerald & Deborah Hamburg Jo & William Haraf Barbara Harrison Gladys & Elizabeth Hazeltine Donna Hecker Charlotte Hedge Audrey Heimler Donald Helgeson Marcia Hendler Florence Hesler Carl & Anne Hirsch Laurie Hofheimer Carolyn Ann Holder Stephanie Horeis Dale Horwitz Jean & Peter Huber Barbara Hyde Carol Hyde Vlatka Ivanisevic Allen & Mary Ivey Barbara Jacob & Karen Lichtig Barbara Jacoby Barbara Jarabek Mary & Tim Johnson Richard Johnson Susan Kaye Johnson Alison Jones Anne Jones Merrill Ann Kaegi Deborah R. Kalb Ken Keating Carolyn Keidel Ann & Pat Kenny Barbara & John Kerwin Marlene Kitchell Robin Klein Strauss Mary S Klimasiewfski Pat Klugherz Philippe Koenig Peter E. Kretzmer


Jane Kritzer & Carol Cermenaro Robert Ladieu & David Hamilton Anita Lambert Lydia H. Landa Gail Landry Harriet K. Lane Jim & Peggy Lang Joan Langbord & George Hollingworth Sara LeFloch 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 Jan Lovelace George B. Ludlow Francine Luque Meg Maguire Richard March Carolou & Lou Marquet Dr. Albert & Marita Marsh Mary Lee Martens & Charleen Alper Jean Martin Frank & Katherine Martucci Peter & Teresa Masterson Joan Mathews Christina Cowell Mayers Donna Maytham Helen McBean Leanne McKaig Sandra Miranda Jean A Mitchell Mary Mitchel Chad Morrison Raymond & Maralyn Morrissey Phyllis Myers Martha Naismith Gene Noble Marilyn Nordby Mercedita Oconnor Catherine Olsen Conrad & Lenée Owens Jeannette Paladino Helen Panoyan Cynthia & Barry Pearlman Virginia & Stuart Peltz

Colette Penn Susan Peterson Sharon Petty Bernard & Elaine Pfeifer Christopher Phillips Julie Planck Peter & Joanne Powers Richard Prescott & DJ Arnold Rose Marie Proietti Jimmye Reeves Rebecca Reilly Pam Reiter Cheryl Richards Dr. Heidi Riveron Audrey Robbins & Harry Leopold Anne Roberts Margot & Jack Robinson Sara Curtis Robinson Terry & Susan Romine Sydell Rosen Sally Ross Jack & Nancy Rozance Dr. Jack & Lenore Rubin Marcia & Sidney Rutberg Beverly Ryan Phyllis Schaen Norma Schatz Barbara (Bobbye) Schott Liliana & Paul Scire Eda T. Scott Carol & Erwin Segal John & Carole Segal Tracy Seider Micki Sellman Vielka Sheppard Jane Sheridan Murray & Abby Sherry Jean B. Simon Zerbe Sodervick & Jane Reed Irene Stankevics Hillary Steele Maureen & Thomas Steinger Louise Stevens Ruth Struth Ann Sundeen Peggy Sweeney Melliss Swenson Virginia & Dee Tashian Joan Tatum Marcia Jean Taub & Peter Swain Veronica & Michel Tcherevkoff

John Teryek Jacqueline & John Thompson Janet Tolbert Niels & Marianne Trulson Mary Kay Urell Susan Valentine Karen Vereb Joseph & Jean Volpe Carol Von Allmen Lauren Ann Walsh Tom & Gwen Watson Myrna & Jeremy Whatmough Kim Wheeler Laurie Wiesemann Florence Wildner Edie Winston Pauline Wood & Wesley Spencer Betty York

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D O C T O R’ S C I R C L E 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

DIAGNOSTIC SERVICES

PHYSICAL THERAPY

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

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

Fane Sigal, MPT Bodywise Physical Therapy 5831 Bee Ridge Road, Suite 300 Sarasota, FL 34233 941.378.5100

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

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

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

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Sarasota MRI 2 N Tuttle Avenue Sarasota, FL 34237 941.951.1888

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

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

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

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

PODIATRY Dr. Robert F. Herbold 4717 Swift Road Sarasota, FL 34231 941.929.1234 Dr. Paul Yungst 1921 Waldemere Street, Suite 106 Sarasosta, FL 34239 941.917.6232


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12 South Palm Avenue Downtown Sarasota 941-365-7900

www.sarasotabooks.com Full-Service Bookstore

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

√ Special Orders √ Author Events √ On-Line Shopping Option Sarasota’s independent bookstore

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

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A DV E RT I S E R S I N D E X

1st Source Bank Allegiant Private Advisors Ameriprise Financial Services, Inc. - David Yarletts Bart Price, M.D. - Concierge Medical Services BMO Private Bank Bodywise Physical Therapy Bookstore1Sarasota Caroline C. Amory, Realtor ® Community Foundation of Sarasota County

45 12 146 47 3 89 145 70 4

Cumberland Advisors

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Designing Women Boutique

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Dex Imaging - Document Technology

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Fifth Third Bank

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Florida Chiropractic & Rehabilitation Clinics

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Goldman, Babboni, Fernandez and Walsh Gulf Coast Community Foundation

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Jewish Federation of Sarasota-Manatee

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Lakewood Ranch Dental

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Matthew Holler Photography

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Michael’s on East

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Morton’s Gourmet Market

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New Balance / Fleet Feet Sports / Molly’s! Boutique

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New York Dancewear Company, LTD. Observer Media Group

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Parker Group - UBS Financial Services

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Peter G. Laughlin / Premier Sotheby’s

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Plymouth Harbor - Retirement Community

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Podiatrist Dr. Robert F. Herbold

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Robert Toale and Sons Funeral Home

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Rugs as Art - Area Rug Superstore Sarasota Bay Club - Retirement Community

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Sarasota Magazine

45

Strategic Marketing Resources, Inc.

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Suncoast News Network

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Suncoast PearlWealth Group - RBCWealth Management

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Williams Parker Harrison Dietz & Getzen

inside back

Willis A. Smith Construction, Inc.

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WUSF

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The Arts Your

take years of practice, focus, dedication, discipline and perseverance, coupled with skill and knowledge. Financial Advisor should possess those same attributes.

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

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

DAVID.J.YARLETTS@AMPF.COM

Ameriprise Financial and its representatives do not provide tax or legal advice. Consult your tax advisor or attorney regarding specific tax or legal issues. Ameriprise Financial Services, Inc. Member FINRA and SIPC ©2015 Ameriprise Financial, Inc., All rights reserved.