2014 Season
Program 1:Giselle
JAN 25-FEB 2
Special Engagement:
The Hamburg Ballet in
A Midsummer Night’s Dream
FEB 12 & 13
January 2014
Volume 91, No. 3
Paul Heppner
Publisher
Susan Peterson
Design & Production Director
2014 Season
Program 1
5
Greetings from the Artistic Director & Principal Choreographer
Ana Alvira, Deb Choat,
Robin Kessler, Kim Love
Design and Production Artists
7
Board of Trustees and Endowment Foundation Board
8
History of San Francisco Ballet
Mike Hathaway
Advertising Sales Director
9
For Your Information
10
Adult Education
Marty Griswold,
Seattle Sales Director
12
Artists of the Company
Gwendolyn Fairbanks,
Ann Manning, Lenore Waldron
Seattle Area Account Executives
22
Program 1
Giselle
Staci Hyatt, Marilyn Kallins,
Tia Mignonne, Terri Reed
San Francisco/Bay Area Account Executives
32
The Hamburg Ballet—John Neumeier: A Midsummer Night’s Dream
41
San Francisco Ballet Orchestra
Denise Wong
Executive Sales Coordinator
42
San Francisco Ballet Staff
44
Calendar of 2014 Repertory Season Donor Events
46
Sponsor and Donor News
48
Great Benefactors
49
Artistic Director’s Council
49
New Productions Fund
50
San Francisco Ballet Season Sponsors
52
The Chairman’s Council
53
Christensen Society
56
Corporate Circle and Foundation Support of San Francisco Ballet
57
San Francisco Ballet Endowment Foundation
58
Legacy Circle
60
Thank You to Our Volunteers
62
War Memorial House and Performing Arts Center
Jonathan Shipley
Ad Services Coordinator
www.encoremediagroup.com
Paul Heppner
Publisher
Leah Baltus
Editor-in-Chief
Marty Griswold
Sales Director
Joey Chapman
Account Executive
Dan Paulus
Art Director
Jonathan Zwickel
Senior Editor
Gemma Wilson
Associate Editor
Amanda Manitach
Visual Arts Editor
Amanda Townsend
Events Coordinator
www.cityartsonline.com
San Francisco Ballet
Vol. 91, No. 3
2014 Repertory Season
All editorial material © San Francisco Ballet, 2014
Chris Hellman Center for Dance
455 Franklin Street, San Francisco, CA 94102
Paul Heppner
President
Mike Hathaway
Vice President
COVER: VANESSA ZAHORIAN IN TOMASSON’S GISELLE (© ERIK TOMASSON)
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2014 SE ASON | PROGR AM 1 | 3
Fascinated with the astonishing natural beauty of Lake George in upstate
New York, Georgia O’Keeffe reveled in the discovery of new subject matter that
energized her signature modernist style. From magnified botanical compositions
to panoramic landscapes, this exhibition offers a deeper understanding of the
spirit of place that was essential to O’Keeffe’s artistic evolution.
This exhibition is organized by The Hyde Collection, Glens Falls, New
York, in association with the Georgia O’Keeffe Museum, Santa Fe,
New Mexico. The exhibition is supported by the National Endowment
for the Arts. The foundation sponsor is the Henry Luce Foundation.
F E B R UA RY 15— M AY 1 1 , 2 0 1 4
HE RB ST E X H I BI T I O N G A L L E R I E S
The presentation at the de Young is made possible by the Ednah Root Foundation, the
San Francisco Auxiliary of the Fine Arts Museums, and the Lisa and Douglas Goldman Fund.
Media Sponsors
Georgia O’Keeffe, Petunias, 1925. Oil on board. Fine Arts Museums of San Francisco, museum purchase,
gift of the M. H. de Young Family. © Georgia O’Keeffe Museum/Artists Rights Society (ARS), New York
Golden Gate Park • deyoungmuseum.org
© DAVID ALLEN
greetings from the
artistic director &
principal choreographer
I’m so pleased that you’ve joined us for Giselle, the opening program of our 2014 Season.
Giselle is one of the most revered Romantic ballets in the classical repertory, and certainly
one of my favorites. Love, romance, deceit, and forgiveness are iconic themes we can all
identify with, while the idea of traveling to the afterlife has fascinated human beings since
the beginning of time. Perhaps the great choreographer George Balanchine said it best:
“Like Hamlet, Giselle is a classic: it is not only important historically, it also happens to be
good… People go to see Giselle and to see ballerinas dance it for the same reason we go
to see new interpretations of Hamlet: the work is such a good one that we always discover
something in it we hadn’t seen before…”
Whether this is your first time experiencing this extraordinary ballet or like me, you’ve
seen Giselle many times before, I hope you’ll discover something new at this performance.
I’m confident that our beautiful production will ignite your spirit and spark your imagination.
Also on February 12 and 13, we are pleased to present The Hamburg Ballet in John
Neumeier’s delightful interpretation of A Midsummer Night’s Dream. San Francisco Ballet
has had a wonderful collaborative relationship with John and his company for several years.
Audiences here in the Opera House (and around the world on PBS Great Performances)
witnessed SF Ballet in his heart-wrenching production of The Little Mermaid in 2012,
and last season The Hamburg Ballet thrilled San Francisco audiences with Nijinsky. So it
is with great pleasure that we welcome Mr. Neumeier and his company of artists back to
the Opera House stage.
Thank you again for joining us for this performance. Our season is just beginning, so we
hope to see you back at the Opera House soon.
Best regards,
Helgi Tomasson
Artistic Director & Principal Choreographer
2014 SE ASON | PROGR AM 1 | 5
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san francisco ballet association
board of trustees 2013–2014
JOHN S. OSTERWEIS, Chair of the Board and Executive Committee
Chris Hellman†
Helgi Tomasson
Kelsey Lamond
Ingrid von Mangoldt Hills
Chair Emeritus
Artistic Director &
Irv H. Lichtenwald
George B. James II†
Principal Choreographer
Marie O’Gara Lipman
Pamela J. Joyner†
Glenn McCoy*
Alison Mauzé
David A. Kaplan
Executive Director
Marissa Mayer
Mary Jo Kovacevich
Deborah M. Messemer
James J. Ludwig†
Mary Mewha
Nancy H. Mohr
James E. Milligan
Gerald E. Napier
Kurt C. Mobley
Thomas J. Perkins
Christine Russell
Marie-Louise Pratt
O.J. Shansby
George R. Roberts
Christine E. Sherry
Kathleen Scutchfield
Richard C. Barker†
Immediate Past Chair
J. Stuart Francis†
Vice Chair and Treasurer
Michael C. Abramson
Margaret G. Gill
Jola Anderson
Vice Chair
Kristen A. Avansino
James H. Herbert, II†
Rosemary B. Baker
Vice Chair
Lucy Jewett
Vice Chair
James D. Marver
Vice Chair
Karen S. Bergman
Amy Burnett
David C. Cox
Timothy Dattels
Susan P. Diekman
Suzy Kellems Dominik
Carl F. Pascarella
Kate Duhamel
Vice Chair
Stephanie Barlage Ejabat
Robert M. Smelick
Peter E. Engel
Vice Chair
Sonia H. Evers
Diane B. Wilsey
Jason M. Fish
Vice Chair
Julie A. Flynn
Jennifer J. McCall
Secretary
Susan S. Briggs
Assistant Secretary
Charlotte Mailliard Shultz
Karen Sonneborn
Fran A. Streets
Judy C. Swanson
Susan A. Van Wagner
Dennis Wu
Akiko Yamazaki
Richard J. Thalheimer
Associate Trustees
Jennifer M. Walske
Mrs. William Brandenburg
Timothy C. Wu
President, San Francisco
Janice Hansen Zakin
Ballet Auxiliary
Rhonda I. Zygocki
Patricia D. Knight
Shelby M. Gans
Trustees Emeriti
President, BRAVO
Richard Gibbs, M.D.
Thomas W. Allen
Jane L. Burkhard
Alicia Carew Hammarskjold
Marjorie Burnett
President, ENCORE!
Thomas E. Horn
Charles Dishman
Erin Glenn
Donald F. Houghton
Garrettson Dulin, Jr. †
Chair, Allegro Circle
Christopher P. Johns
Millicent Dunham
James C. Katzman
Sally Hambrecht
† Past Chair
Nancy Kukacka
Neil E. Harlan†
*ex officio
san francisco ballet endowment foundation
board of directors 2013–2014
JAMES D. MARVER, President
John S. Osterweis
Kim Ondreck Carim‡
Richard C. Barker
Directors Emeriti
President Emeritus
Chief Financial Officer
Susan S. Briggs
Chris Hellman
Hank J. Holland
Laura SImpson‡
J. Stuart Francis
George B. James II
Vice President
Secretary
Hilary C. Pierce
Thomas E. Horn
Elizabeth Lani‡
Larissa K. Roesch
Treasurer
Assistant Secretary
Robert M. Smelick
‡ Non-Director
2014 SE ASON | PROGR AM 1 | 7
history of san francisco ballet
San Francisco Ballet, the oldest professional ballet company in America, has
emerged as a world-class arts organization since it was founded as the San
Francisco Opera Ballet in 1933. Initially,
its purpose was to train dancers to appear
in opera productions, but it separated
from the opera in 1942 and was renamed
San Francisco Ballet. Headed by brothers
Willam, Lew, and Harold Christensen from
the late ’30s until the ’70s, it made its
mark early on by staging the first fulllength American productions of Swan
Lake (1940) and Nutcracker (1944).
Under Lew’s direction, the Company made
its East Coast debut at Jacob’s Pillow
Dance Festival in 1956 and toured 11
Asian nations the following year, marking
the first performances of an American
ballet company in the Far East.
Helgi Tomasson’s arrival as artistic
director in 1985 marked the beginning
of a new era. Like Lew Christensen,
Tomasson had been a leading dancer
for the most important ballet choreographer of the 20th century, George
Balanchine. He has since staged
acclaimed full-length productions of
many classics, including Swan Lake
(1988); The Sleeping Beauty (1990);
Romeo & Juliet (1994); Giselle (1999);
and a new Nutcracker (2004). In 1991,
SF Ballet performed in New York City
for the first time in 26 years, to broad
critical acclaim. In May 1995, the Ballet
played host to 12 ballet companies for
UNited We Dance: An International
Festival, commemorating the 50th
anniversary of the signing of the United
Nations Charter.
In 1972 the Company settled in the War
Memorial Opera House for its annual
residency. The following year, Michael
Smuin was appointed associate artistic
director; in 1981, his The Tempest was
nominated for three Emmy Awards, and in
1984 Smuin received an Emmy Award for
Choreography for the PBS national
broadcast of A Song for Dead Warriors.
SF Ballet’s repertory includes works by
George Balanchine, Lew Christensen,
William Forsythe, Agnes de Mille, Sir
Kenneth MacMillan, Wayne McGregor,
Mark Morris, Rudolf Nureyev, Marius
Petipa, Jerome Robbins, Paul Taylor,
Christopher Wheeldon, and many
others. In recent years, the Company’s
touring engagements have included the
John F. Kennedy Center for the
Performing Arts in Washington, D.C.;
New York City Center; the Opéra de
Paris-Palais Garnier in Paris; London’s
Sadler’s Wells Theatre and the Royal
Opera House in Covent Garden; and
Athens’ Megaron Theatre. In fall 2009,
SF made its first trip to the People’s
Republic of China, with performances
in Shanghai and Beijing.
won its first Laurence Olivier Award, for
its 2004 fall season at Sadler’s Wells
Theatre. In 2008, San Francisco Ballet
and the San Francisco Ballet School
celebrated their 75th anniversary.
In 2011, the United States premiere
of John Neumeier’s The Little Mermaid,
performed by SF Ballet, was broadcast
internationally on PBS’s Great
Performances “Dance in America.”
In 2012, SF Ballet embarked on an
ambitious tour that included engagements
in London and Washington, D.C., as well
as first-time visits to Hamburg, Moscow,
and Sun Valley, Idaho. In 2013, the
Company performed at New York’s
David H. Koch Theater at Lincoln Center,
where The New York Times declared
SF Ballet “a national treasure.”
The San Francisco Ballet School,
overseen by Tomasson, and School
Associate Director Patrick Armand,
attracts students from around the world,
training approximately 350 annually.
In addition to filling the ranks of San
Francisco Ballet, graduates have gone
on to join distinguished ballet companies
throughout the world.
WILLAM, LEW, AND HAROLD CHRISTENSEN AT
THE CEREMONIAL GROUNDBREAKING FOR THE
SAN FRANCISCO BALLET ASSOCIATION’S NEW
FACILITIES (1982)
8 SAN FR ANCISCO BALLET
In 2005, Tomasson was awarded the
Lew Christensen Medal in honor of his
20th anniversary as artistic director of
SF Ballet, and that year the Company
MEMBERS OF SAN FRANCISCO BALLET BENEATH
THE GOLDEN GATE BRIDGE ON THE EVE OF THE
FAR EAST TOUR (1957), COURTESY OF SF BALLET
for your information
HOW TO PURCHASE TICKETS
Order online 24 hours a day at sfballet.org
or call Ticket Services at 415.865.2000,
Monday through Friday, 10am to 4pm. On
performance dates, phones are open from
10am until the performance begins.
The San Francisco Ballet Box Office is
open only on performance dates and is
located in the War Memorial Opera House
on Van Ness Avenue and Grove Street.
The Box Office opens at noon Tuesday
through Friday and at 10am Saturday and
Sunday, and remains open through the
first intermission. The hour prior to each
performance is reserved for business
related to that performance only.
GROUP SALES
Groups of 10 or more can save up to 30%.
For information, call 415.865.6785.
GIFT CERTIFICATES
Gift certificates are available online at
sfballet.org or by calling 415.865.2000.
THE SHOP AT SF BALLET
Assistive listening devices (Sennheiser
model infrared sound amplification
headsets) are available at both coat
check locations in the main lobby.
A major credit card or driver’s license
is required for deposit.
GENER AL ENJOYMENT
Coat-check rooms are located in the Main
Lobby on the north and south promenades.
Lost & Found is located at the north
coat-check room, or call 415.621.6600,
8:30–11:30am, Monday–Friday.
Opera glasses are available for $5 rental
at the north coat-check room. A driver’s
license or other form of valid ID is required
as a deposit.
Restrooms are located on all floors
except Orchestra level (Floor 1).
Courtesy telephones for local calls only,
are located on the first floor Lobby level
directly across from the elevators.
The Shop at SF Ballet is open one hour
before each performance, during
intermissions, and after weekend
matinees. A Ballet Shop pass is available
at the Box Office to non-ticket holders
who wish to purchase merchandise.
Visit online at sfballet.org/shop.
Patrons desiring a taxi after a performance
may reserve one with the doorman at
the Grove Street entrance by the final
intermission. Reservations cannot be
guaranteed as taxi service is based on the
availability of licensed taxis. This service
is not available for Nutcracker.
PERSONS WITH DISABILITIES
Walking tours of the San Francisco War
Memorial and Performing Arts Center,
which includes Louise M. Davies Symphony
Hall, War Memorial Opera House, and the
Herbst Theatre, are available to the public
on Mondays on the hour between 10am
and 2pm. Tours leave from the Grove
Street entrance of Davies Symphony Hall.
There are no tours on holidays. General
admission $7; seniors/ students $5. For
information, call 415.552.8338.
Persons with wheelchairs may enter and
exit the Opera House through the front
doors (Van Ness Avenue), Taxi Ramp
(Grove Street), and Carriage Entrance
(north side). Wheelchair seating positions
are located on the Orchestra and Dress
Circle levels. Contact Ticket Services at
415.865.2000 for more information.
Wheelchair accessible stalls in restrooms can be found on all floors except
the main lobby and fifth floor Balcony
level. A lockable single user/special
needs restroom is located on Floor 3.
Please see the usher closest to this
location for access. Accessible drinking
fountains are located on all floors
except the Balcony level.
Parcels, backpacks, luggage, etc.,
must be checked in the Opera House
coat-check rooms.
Children of any age attending a performance must have a ticket and occupy
that seat; no children-in-arms or infants,
please. SF Ballet recommends that
children be at least eight years old to
attend Repertory Season performances.
Opera House management reserves
the right to remove any patron who is
creating a disturbance.
Latecomers will not be seated after
the lights have been dimmed in order
to not disturb patrons who have arrived
on time.
No photography or recording is allowed
during the performance. Please turn
off phones and refrain from talking
and texting during the performance.
Eating and drinking are not permitted
in the theater.
Smoking is not permitted in the Opera
House. Patrons may smoke on the outdoor
Loggia located on the Grand Tier level.
A nurse is on duty in the Opera House
lower lounge during all performances.
DINING
The Café at the Opera House in the
lower lounge level opens two hours
prior to curtain time for a delicious
pre-performance buffet (no buffet on
Saturday matinees) and is also open
during intermission for refreshments.
Call 415.861.8150 for buffet reservations. Patrons arriving before front
doors open will be admitted at the
North Carriage entrance on the north
side of the Opera House.
Refreshments are available on the lower
level as well as the Box, Orchestra, and
Dress Circle levels during all performances.
Refreshments may not be carried beyond
the concession areas in which they are
served. No outside food or beverages are
allowed. Drinking fountains are located on
all levels near the elevators. No food or
beverages, except bottled water, are
permitted inside the auditorium at any time.
FOR FURTHER GENERAL INFORMATION,
PLEASE VISIT SFBALLET.ORG.
2014 SE ASON | PROGR AM 1 | 9
adult education
2014 Talk About Ballet!
Join us for our newest educational/social program, Talk about Ballet! Each event (held in the Dollar Board Room in the
SF Ballet building at 455 Franklin Street) includes a 60-minute lecture and Q & A, led by leaders in the dance and music
academic fields, followed by a 30-minute reception with wine and snacks.
General public: $20 per event or four event package $70. Subscribers: $15 per event or four event package for $50.
Visit SFBALLET.ORG/TALKABOUTBALLET to purchase.
SAT, FEB 1
5-6:30pm | SF Ballet Visiting Lecturer Professor Jennifer Fisher
Giselle Inquest
Why did Giselle die? As the only “ballet coroner” known to dance
studies, Jennifer Fisher will conduct an “inquest” with artists
of SF Ballet, gathering “testimonies” to shed light on the causes
Giselle’s death. Could this tragedy have been prevented?
Reserve your tickets now and find out!
SUN, APR 6
SAT, APR 5
5-6:30pm | SF Ballet Visiting Scholar Professor Stephanie Jordan
Seeing and Hearing: Dance and Music as Double Challenge
Over the last century, choreographers have explored new
approaches to music, rather than simply translating scores into
dance. This talk traces the work of several choreographers and
composers, culminating in a discussion of Alexei Ratmansky’s
Shostakovich Trilogy.
MON, APR 7
5-6:30pm | SF Ballet Visiting Scholar Professor Stephanie Jordan
Mark Morris: Choreographer and Musician
This event will spotlight various ambitious experiments with music
that Mark Morris has conducted, including “music visualisations,” his
homage to the radical collaboration of Merce Cunningham and John
Cage, and his treatments of large-scale symphonic scores never
written for dance.
6-7:30pm | SF Ballet Visiting Scholar Professor Stephanie Jordan
Balanchine, Stravinsky, and Agon: A ChoreographerComposer Collaboration
Agon is a masterpiece, a collaboration of perhaps the most brilliant
choreographer and composer of the twentieth century. This event
will focus on the construction of this feverishly intricate work and
the powerful modernist impulse that drives it.
YUAN YUAN TAN AND ANITA PACIOTTI IN TOMASSON’S GISELLE (© ERIK TOMASSON)
10 S A N F R A N C I S C O B A L L E T
2014 Pointes of View Lecture Series
San Francisco Ballet’s Pointes of View (POV) Lecture Series features SF Ballet dancers, guest artists,
choreographers, musicians, and visiting scholars. This season, the series—which is free and open to the
public—will be held on the Orchestra level of the Opera House from 6-6:45pm. Attendees should enter the
Opera House from the carriage entrance on the north side, adjacent to the courtyard. FREE to the general public.
Visit SFBALLET.ORG/POINTESOFVIEW for more information.
PROGRAM 1: WED, JAN 29
Giselle
Dance educator Mary Wood and Ballet Master Anita Paciotti discuss
the Company’s commitment to producing Giselle and other classics.
PROGRAM 2: WED, FEB 19
Dance educator Mary Wood interviews Val Caniparoli, who
will discuss what inspires him to make new work.
PROGRAM 3: WED, FEB 26
Dance scholar Dr. Carrie Gaiser Casey and Ballet Master
Felipe Diaz discuss the theatrical and mystical in The Kingdom
of the Shades from La Bayadère Act II.
PROGRAM 4: WED, MAR 12
Cinderella
The melodic, atmospheric Prokofiev score that drives Cinderella
is the subject of this discussion, led by SF Ballet Music Director &
Principal Conductor Martin West and hosted by Mary Wood.
PROGRAM 5: WED, APR 2
Shostakovich Trilogy
Mary Wood is joined by Ballet Mistress and Répétiteur
Nancy Raffa from American Ballet Theatre, who will present
insights into Alexei Ratmansky’s monumental new
full-evening work, Shostakovich Trilogy.
PROGRAM 6: WED, APR 9
Visiting Scholar Dr. Stephanie Jordan presents “Meeting
Beethoven: Mark Morris and Maelstrom.” What happens
when you make a ballet out of Beethoven’s so-called “Ghost”
Trio? In Maelstrom, Morris responds to a model of large
musical form while adding his own suggestions of an
unearthly narrative.
PROGRAM 7: WED, APR 30
Dance scholar Dr. Carrie Gaiser Casey convenes a panel of
choreographers including Helgi Tomasson and Val Caniparoli,
to discuss how each choreographer approaches the creation
of a new ballet.
PROGRAM 8: WED, MAY 7
Dance Educator Mary Wood and SF Ballet artists discuss
the wide variety of styles required in Balanchine’s groundbreaking Agon; his colorful Brahms-Schoenberg Quartet;
and Jerome Robbins’ energetic Glass Pieces.
Meet the Artist Interviews
San Francisco Ballet’s highly popular pre-performance discussion program, Meet the Artist Interviews spotlight the
specific program to be performed that afternoon/evening.
These highly informative talks feature Company dancers, guest artists, choreographers, and conductors in conversation with a host.
Meet the Artist Interviews last 30 minutes and take place on the Orchestra Level of the War Memorial Opera House one hour before
performance time on program openings, Fridays, Sunday matinees, and select Saturday performances. They are open to all ticket holders.
Updates on hosts and guests are posted as information becomes available. Visit SFBALLET.ORG/MTA for more information.
Select Meet the Artist Interviews are available in podcast form. Visit SFBALLET.ORG/PODCASTS for more information.
PROGRAM 1
PROGRAM 3
PROGRAM 5
PROGRAM 7
Sat, Jan 25, 7pm
Sun, Jan 26, 1pm
Fri, Jan 31, 7pm
Sun, Feb 2, 1pm
Thu, Feb 20, 7pm
Fri, Feb 28, 7pm
Sun, Mar 2, 1pm
Fri, Apr 11, 7pm
Sun, Apr 13, 1pm
Tue, Apr 29, 7pm
Fri, May 2, 7pm
Sun, May 4, 1pm
PROGRAM 2
Tue, Feb 18, 7pm
Fri, Feb 21, 7pm
Sun, Feb 23, 1pm
PROGRAM 6
PROGRAM 4
Tue, Mar 11, 7pm
Fri, Mar 14, 7pm
Sun, Mar 16, 1pm
Sun, Mar 23, 1pm
Fri, Apr 4, 7pm
Sun, Apr 6, 1pm
PROGRAM 8
Thu, May 1, 7pm
Fri, May 9, 7pm
Sun, May 11, 1pm
2014 SE ASON | PROGR AM 1 | 11
artists of the company
ARTISTIC DIRECTOR &
PRINCIPAL CHOREOGRAPHER
Helgi Tomasson
PRINCIPAL DANCERS
Carlos Quenedit
Henry Sidford†
Joan Boada
James Sofranko
Dustin Shane Spero
Frances Chung
Anthony Spaulding†
Benjamin Stewart†
Taras Domitro
Jennifer Stahl†
Myles Thatcher†
Lorena Feijoo
Shane Wuerthner
Raymond Tilton†
Mathilde Froustey
Hansuke Yamamoto
Wei Wang†
Jaime Garcia Castilla
Tiit Helimets
Davit Karapetyan
John and Barbara Osterweis
Principal Dancer
Maria Kochetkova
Herbert Family Principal Dancer
Vitor Luiz
Rubén Martín Cintas
Pascal Molat
CORPS DE BALLET
Gaetano Amico III†
Sean Bennett†
Thomas Bieszka
Kimberly Braylock†
Nicole Ciapponi†
Diego Cruz†
Isabella DeVivo†
Marie-Claire D’Lyse
Lonnie Weeks
Luke Willis
WanTing Zhao†
APPRENTICES
Liana Carpio
Max Cauthorn†
Aaron Renteria†
Miranda Silveira†
Mingxuan Wang†
Megan Amanda Ehrlich
BALLET MASTER &
Damian Smith
Lacey Escabar†
ASSISTANT TO THE
Sofiane Sylve
Jordan Hammond†
ARTISTIC DIRECTOR
Yuan Yuan Tan
Jillian Harvey
Ricardo Bustamante†
Gennadi Nedvigin
Richard C. Barker Principal Dancer
Sarah Van Patten
Diana Dollar Knowles Principal Dancer
Vanessa Zahorian
PRINCIPAL CHARACTER
DANCERS
Esteban Hernandez
Ellen Rose Hummel†
Koto Ishihara†
Emily Kadow
Kristina Lind†
Alexandra McCullagh Newman†
BALLET MASTERS
Felipe Diaz†
Betsy Erickson†
Anita Paciotti†
Katita Waldo†
Alexandra Meyer-Lorey†
COMPANY TEACHERS
Steven Morse†
Helgi Tomasson
Francisco Mungamba†
Lola de Avila*
Sean Orza†
Patrick Armand*
Lauren Parrott†
Ricardo Bustamante†
SOLOISTS
Elizabeth Powell†
Felipe Diaz†
Dores André
Alexander Reneff-Olson†
Clara Blanco†
Rebecca Rhodes†
Daniel Deivison-Oliveira†
Julia Rowe†
Sasha De Sola
Emma Rubinowitz†
Dana Genshaft
Jeremy Rucker†
Luke Ingham
Shannon Marie Rugani†
MUSIC DIRECTOR &
PRINCIPAL CONDUCTOR
Simone Messmer
Grace Shibley
Martin West
Ricardo Bustamante†
Val Caniparoli†
Anita Paciotti†
12 S A N F R A N C I S C O B A L L E T
CHOREOGRAPHER
IN RESIDENCE
Yuri Possokhov
†Received training at the San Francisco Ballet School
*Guest Teacher
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© DAVID ALLEN
© DAVID ALLEN
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sf ballet leadership
H ELGI T OMASSON
Artistic Director &
Principal Choreographer
GLENN MCCOY
Executive Director
MARTIN WEST
Music Director &
Principal Conductor
Helgi Tomasson, now in his 29th season
Glenn McCoy’s career in the performing
Martin West is acknowledged as one of the
of artistic direction, has created
arts spans more than 30 years of opera-
foremost conductors of ballet, garnering
San Francisco Ballet into a world-class
tions management and marketing in ballet
critical acclaim throughout the world.
company, praised for its diversity and broad
and opera. He first joined San Francisco
Born in Bolton, England, he studied math
repertory. Tomasson was first discovered
Ballet in 1987, and during his 25-year
at St. Catharine’s College, Cambridge
by Jerome Robbins in his native Iceland
tenure has held the positions of company
University, before studying at the St.
and was offered a dance scholarship to
manager, general manager, and managing
Petersburg Conservatory of Music and
New York’s School of American Ballet.
director. He was elected to the position of
London’s Royal Academy of Music.
Subsequently, he began his professional
executive director in April 2002.
career with The Joffrey Ballet, The Harkness
In fall 1997, West made his debut with English
Ballet, and later joined New York City Ballet
McCoy has overseen the production of
National Ballet and was immediately appointed
where he became one of the company’s
more than 50 new repertory and full-length
resident conductor. There, he conducted
most celebrated principal dancers.
ballets for San Francisco Ballet and more than
almost half of the company’s performances
40 domestic and international tours, including
throughout England and abroad. From
Tomasson has choreographed over 40 works,
engagements at the Palais Garnier in Paris;
2004-07 he held the position of principal
and his numerous awards include being
London’s Royal Opera House; the John F.
conductor. In recent seasons, he has worked
named Officier in the French Order of Arts
Kennedy Center for the Performing Arts in
with many of the top companies in North
and Letters for contributing to further the
Washington, D.C.; and the Lincoln Center’s
America, such as New York City Ballet, Houston
arts in France and world-wide, and an
David H. Koch Theater. McCoy supervised
Ballet and the National Ballet of Canada.
honorary degree from New York’s Juilliard
San Francisco Ballet’s operations for the
School. Tomasson was also awarded the
critically acclaimed international dance festival,
West has worked with the Hallé Orchestra,
Grand Cross Star of the Order of the Falcon,
UNited We Dance in 1995, San Francisco
Holland Symfonia, the Royal Liverpool
Iceland’s most prestigious honor.
Ballet’s 75th Anniversary Season in 2008 and
Philharmonic Orchestra and Odense
the tapings of Lar Lubovitch’s Othello, Helgi
Symphony, Denmark. He made his U.S.
In 1995, Tomasson conceived UNited We
Tomasson’s Nutcracker, and John Neumeier’s
symphonic conducting debut with Silicon
Dance: An International Festival, produced
The Little Mermaid, which have been broadcast
Valley Symphony, resulting in an immediate
in San Francisco, to celebrate the 50th
on PBS by Thirteen/WNET New York’s
re-invitation. From 1998 to July 2005, West
anniversary of the signing of the United
performing arts series Great Performances.
was the music director of the Cambridge
Nations Charter. It included 12 international
Philharmonic.
companies that presented new works by
Prior to joining San Francisco Ballet, McCoy
native choreographers. In 2008, he led
held marketing positions at the San Francisco
In fall 2005, West joined San Francisco
the Company through its 75th anniversary
Opera and at The Metropolitan Opera in New
Ballet, having been a frequent guest since his
season, which included a New Works Festival
York City, where as advertising manager he
debut two years earlier. His critically acclaimed
of 10 world premieres by 10 acclaimed
was responsible for promoting The Met
recordings with the San Francisco Ballet
choreographers.
seasons of American Ballet Theatre, as well as
Orchestra include the complete score of
other international dance companies including
Tchaikovsky’s Nutcracker on the Koch label, a
In 2012, Tomasson was presented the
Paris Opéra Ballet, The Royal Ballet, the
CD of Shostakovich and Tchaikovsky cello music
Dance USA Honor Award for extraordinary
Bolshoi Ballet, and Japan’s Grand Kabuki.
released on the Telarc label, and an album of
suites from Delibes’ Sylvia and Coppélia on
leadership in the dance field, by reason of
artistic excellence and force of vision.
A native of New Bern, North Carolina, McCoy
Reference Records. In addition, he conducted
earned his Bachelor of Arts degree in theater
on the award-winning DVD of John Neumeier’s
Tomasson is also the director of the
and communication arts from Appalachian
The Little Mermaid, as well as San Francisco
San Francisco Ballet School.
State University in North Carolina.
Ballet’s production of Nutcracker for PBS.
14 S A N F R A N C I S C O B A L L E T
principal dancers
JOAN BOADA
TIIT HELIMETS
A native of Havana, Cuba, Joan Boada
Born in Viljandi, Estonia, Tiit Helimets
trained at the National Ballet School of Cuba
trained at the Tallinn Ballet School
and danced with seven companies (including
and began his career as a soloist with
Ballet Nacional de Cuba, Ballet National de
Estonian National Ballet. He was
Marseille Roland Petit, The Australian Ballet,
promoted to principal dancer six months
and Royal Ballet of Flanders) before joining
later. He joined SF Ballet as a principal
SF Ballet as a principal dancer in 1999.
dancer in 2005.
DAVIT KARAPETYAN
Born in Yerevan, Armenia, Davit Karapetyan
FRANCES CHUNG
trained at the Armenian School of Ballet
Born in Vancouver, British Columbia,
and Schweizerische Ballettberufsschule.
Frances Chung trained at the Goh Ballet
After dancing with Zurich Ballet, he joined
Academy before joining SF Ballet in 2001.
SF Ballet as a principal dancer in 2005. He
She was promoted to soloist in 2005 and
was appointed John and Barbara Osterweis
principal dancer in 2009.
Principal Dancer in 2013.
MARIA KOCHETKOVA
TARAS DOMITRO
Born in Moscow, Russia, Maria Kochetkova
Born in Havana, Cuba, Taras Domitro
trained at the Bolshoi School and danced with
trained at Alejo Carpentier School and
The Royal Ballet, English National Ballet,
National Ballet School of Cuba. He
Tokyo Ballet, Bolshoi Ballet, and Mikhailovsky
performed as a principal dancer with the
Theater before joining SF Ballet as a principal
Ballet Nacional de Cuba prior to joining
dancer in 2007. She was appointed Herbert
SF Ballet as a principal dancer in 2008.
Family Principal Dancer in 2012.
VITOR LUIZ
LORENA FEIJOO
Born in Juiz de Fora, Brazil, Vitor Luiz
Born in Havana, Cuba, Lorena Feijoo
trained with Victor Navarro and Dalal
trained at the National Ballet School of Cuba.
Achcar, Pedro Kraszczuck, and the Royal
She danced with Ballet Nacional de Cuba,
Ballet School. He danced with Birmingham
Ballet of Monterrey, Royal Ballet of Flanders,
Royal Ballet and Ballet do Theatro
and the Joffrey Ballet prior to joining SF
Municipal do Rio de Janeiro prior to joining
Ballet as a principal dancer in 1999.
SF Ballet as a principal dancer in 2009.
MATHILDE FROUSTEY
RUBÉN MARTÍN CINTAS
Mathilde Froustey was born in Bordeaux,
Rubén Martín Cintas was born in Reus,
France, and received her training at the
Spain, and trained at Escuela Municipal
Marseille National School of Ballet and
de Danza and Estudio de Danza de Maria
Paris Opéra Ballet School. At age 17, she
de Avila. He danced with English National
joined the Paris Opéra Ballet, where she
Ballet prior to joining SF Ballet in 2000.
was a soloist. She joined San Francisco
He was promoted to soloist in 2003 and
Ballet as a principal dancer in 2013.
to principal dancer in 2006.
JAIME GARCIA CASTILLA
PASCAL MOLAT
Jaime Garcia Castilla was born in Madrid,
A native of Paris, France, Pascal Molat
Spain, and studied at the Royal Conservatory
trained at Paris Opéra Ballet School
of Professional Dance. He was named an SF
and danced with Royal Ballet of
Ballet apprentice in 2001 and joined the
Flanders and Les Ballets de Monte-
Company as a corps de ballet member the
Carlo before joining SF Ballet as a
following year. He was promoted to soloist in
soloist in 2002. He was promoted to
2006 and to principal dancer in 2008.
principal dancer the following year.
Dancer headshots © Chris Hardy and © David Allen
2014 SE ASON | PROGR AM 1 | 15
principal dancers
GENNADI NEDVIGIN
YUAN YUAN TAN
Born in Rostov, Russia, Gennadi
Yuan Yuan Tan was born in Shanghai. She trained at
Nedvigin trained at the Bolshoi School
Shanghai Dancing School and John Cranko Dance
and danced with Le Jeune Ballet de
Academy. She has danced with Hamburg, Bolshoi,
France and Moscow Renaissance
and Hong Kong Ballet, and at Beijing Grand Theater.
Ballet before joining SF Ballet as a
She joined SF Ballet as soloist in 1995, was
soloist in 1997. Three years later, he
promoted to principal in 1997, and was appointed
was promoted to principal dancer.
Richard C. Barker Principal Dancer in 2012.
DAMIAN SMITH
SARAH VAN PATTEN
Born in New South Wales, Australia,
Sarah Van Patten trained at Ballet Workshop of
Damian Smith trained at Robin Hick School
New England with Jacqueline Cronsberg, and
of Dance, McDonald College School of
danced with Massachusetts Youth Ballet and the
Arts, and School of American Ballet. After
Royal Danish Ballet before joining the SF Ballet
dancing with Ballet du Nord, he joined SF
as a soloist in 2002. She was promoted to
Ballet in 1996. He was promoted to soloist
principal dancer in 2007. She was appointed
in 1998 and to principal dancer in 2001.
Diana Dollar Knowles Principal Dancer in 2013.
SOFIANE SYLVE
VANESSA ZAHORIAN
Sofiane Sylve was born in Nice, France.
Born in Allentown, Pennsylvania, Vanessa
She has danced with HET Nationale, NYCB,
Zahorian trained at the Kirov Academy of
Hong Kong, English, Australian, Finnish, and
Ballet and Central Pennsylvania Youth
Hungarian National Ballets, and Teatro San
Ballet. After an apprenticeship at Russia’s
Carlo. She performed as a guest with SF
Kirov Ballet, she joined SF Ballet in 1997.
Ballet in 2007. In 2009 she joined as a
She was promoted to soloist in 1999 and
principal and guest of the School faculty.
to principal dancer in 2002.
principal character dancers
RICARDO BUSTAMANTE†
ANITA PACIOTTI†
Born in Medellin, Colombia
Born in Oakland, California
Joined in 1980
Joined in 1968
Named Principal Character Dancer
Named Principal Character Dancer
in 2007
in 1987
VAL CANIPAROLI†
Born in Renton, Washington
Joined in 1973
Named Principal Character Dancer
in 1987
16 S A N F R A N C I S C O B A L L E T
†Received training at the San Francisco Ballet School
soloists
DORES ANDRÉ
Born in Vigo, Spain
SIMONE MESSMER
Joined in 2004
Born in Minneapolis, Minnesota
Promoted to Soloist in 2012
Joined as a Soloist in 2013
CLARA BLANCO†
Born in Valladolid, Spain
Joined in 2001
CARLOS QUENEDIT
Returned in 2007
Born in Havana, Cuba
Promoted to Soloist in 2012
Joined as a Soloist in 2012
DANIEL DEIVISON-OLIVEIRA†
JAMES SOFRANKO
Born in Rio de Janeiro, Brazil
Born in Marion, Indiana
Joined in 2005
Joined in 2000
Promoted to Soloist in 2011
Promoted to Soloist in 2007
SASHA DE SOLA
ANTHONY SPAULDING†
Born in Winter Park, Florida
Born in Phoenix, Arizona
Named Apprentice in 2006
Named Apprentice in 2004
Joined in 2007
Joined in 2006
Promoted to Soloist in 2012
Promoted to Soloist in 2008
DANA GENSHAFT
JENNIFER STAHL†
Born in Moscow, Russia
Born in Dana Point, California
Named Apprentice in 2000
Named Apprentice in 2005
Joined in 2001
Joined in 2006
Promoted to Soloist in 2008
Promoted to Soloist in 2013
LUKE INGHAM
SHANE WUERTHNER
Born in Mount Gambier, South Australia
Born in San Francisco, California
Joined as a Soloist in 2012
Joined as a Soloist in 2012
†Received training at the San Francisco Ballet School
2014 SE ASON | PROGR AM 1 | 17
soloists
HANSUKE YAMAMOTO
Born in Chiba, Japan
Joined in 2001
Promoted to Soloist in 2005
corps de ballet
GAETANO AMICO III†
Born in Salem, Oregon
NICOLE CIAPPONI†
Named Apprentice in 2006
Born in Vancouver, Canada
Joined in 2007
Joined in 2010
SEAN BENNETT†
Born in San Francisco, California
DIEGO CRUZ†
Named Apprentice in 2011
Born in Zaragoza, Spain
Joined in 2012
Joined in 2006
THOMAS BIESZKA
ISABELLA DEVIVO†
Born in Grand Rapids, Michigan
Born in Great Neck, New York
Joined in 2013
Joined in 2013
KIMBERLY BRAYLOCK†
Born in New York, New York
MARIE-CLAIRE D’LYSE
Named Apprentice in 2009
Born in Brisbane, Australia
Joined in 2010
Joined in 2012
18 S A N F R A N C I S C O B A L L E T
corps de ballet
MEGAN AMANDA ERLICH
Born in Charleston, South Carolina
KOTO ISHIHARA†
Named Apprentice in 2011
Born in Nagoya, Japan
Joined in 2012
Joined in 2010
LACEY ESCABAR†
Born in Fairfax, CA
EMILY KADOW
Named Apprentice in 2012
Born in Winter Park, Florida
Joined in 2013
Joined in 2012
JORDAN HAMMOND†
KRISTINA LIND†
Born in Irvine, California
Born in San Jose, California
Joined in 2012
Joined in 2009
JILLIAN HARVEY
Born in Allegheny, Pennsylvania
ALEXANDRA
MCCULLAGH NEWMAN†
Named Apprentice in 2011
Born in San Francisco, California
Joined in 2012
Joined in 2006
ALEXANDRA MEYER-LOREY†
Born in Zurich, Switzerland
ESTEBAN HERNANDEZ
Named Apprentice in 2003
Born in Guadalajara, Mexico
Joined in 2004
Joined in 2013
Returned in 2013
ELLEN ROSE HUMMEL†
Born in Greenville, South Carolina
STEVEN MORSE†
Named Apprentice in 2011
Born in Harbor City, California
Joined in 2012
Joined in 2009
2014 SE ASON | PROGR AM 1 | 19
corps de ballet
FRANCISCO MUNGAMBA†
JULIA ROWE†
Born in Madrid, Spain
Born in Elizabethtown, Pennsylvania
Joined in 2011
Joined in 2013
SEAN ORZA†
EMMA RUBINOWITZ†
Born in San Francisco, California
Born in San Francisco, California
Named Apprentice in 2007
Named Apprentice in 2012
Joined in 2008
Joined in 2013
LAUREN PARROTT†
JEREMY RUCKER†
Born in Palm Harbor, Florida
Born in Morganton, North Carolina
Named Apprentice in 2012
Named Apprentice in 2007
Joined in 2013
Joined in 2008
ELIZABETH POWELL†
SHANNON MARIE RUGANI†
Born in Boston, Massachusetts
Born in Lake Tahoe, California
Named Apprentice in 2011
Named Apprentice in 2004
Joined in 2012
Joined in 2005
ALEXANDER RENEFF-OLSON†
Born in San Francisco, California
GRACE SHIBLEY
Named Apprentice in 2012
Born in Portland, Oregon
Joined in 2013
Joined in 2013
REBECCA RHODES†
HENRY SIDFORD†
Born in Chicago, Illinois
Born in Marblehead, Massachusetts
Named Apprentice in 2008
Named Apprentice in 2011
Joined in 2009
Joined in 2012
20 S A N F R A N C I S C O B A L L E T
corps de ballet
WEI WANG†
DUSTIN SHANE SPERO
Born in Anshan-Liaoning, China
Born in Dayton, Ohio
Named Apprentice in 2012
Joined in 2010
Joined in 2013
BENJAMIN STEWART†
LONNIE WEEKS
Born in Austin, Texas
Born in Chicago, Ilinois
Joined in 2006
Joined in 2010
MYLES THATCHER†
Born in Atlanta, Georgia
LUKE WILLIS
Named Apprentice in 2009
Born in Jacksonville, Florida
Joined in 2010
Joined in 2007
RAYMOND TILTON†
Born in San Diego, California
WAN TING ZHAO†
Named Apprentice in 2010
Born in Anshan-Liaoning, China
Joined in 2011
Joined in 2011
SF BALLET DANCER HEADSHOTS © CHRIS HARDY AND © DAVID ALLEN
2014 SE ASON | PROGR AM 1 | 21
“I love the soft quality of
Giselle’s second act, and
using my imagination to
portray that I’m floating in air.”
– Vanessa Zahorian, principal dancer
1
22 S A N F R A N C I S C O B A L L E T
VANESSA ZAHORIAN IN TOMASSON’S GISELLE (© ERIK TOMASSON)
program 1
full-length ballet
Giselle
Composer: Adolphe Adam, with additional music, orchestrations and
arrangements by Friedrich Burgmüller, Ludwig Minkus, and Emil de Cou
Production: Helgi Tomasson
Choreographer: Helgi Tomasson after Marius Petipa, Jules Perrot, and Jean Coralli
Scenic, Costume and Lighting Designer: Mikael Melbye
Assistant Lighting Designer: Lisa J. Pinkham
Assistant to Mr. Tomasson for this production: Lola de Avila
World Premiere: June 28, 1841—Paris Opera Ballet, Théâtre de l’Académie Royale de Musique; Paris, France
San Francisco Ballet Premiere (current production): April 8, 1999—War Memorial Opera House;
San Francisco, California
The 1999 world premiere of Helgi Tomasson’s Giselle was underwritten by The Hellman Family, The Edward E. Hills Fund,
Lucy and Fritz Jewett, and an anonymous donor, in honor of Chris Hellman. This project was made possible, in part, by a grant
from the National Dance Residency Program (NDRP), a program underwritten by The Pew Charitable Trusts and administered
at the New York Foundation for the Arts.
These performances of Giselle are made possible by Major Sponsors Marissa Mayer and Zachary Bogue, Mr. and Mrs. Kurt Mobley;
Sponsors Sonia H. Evers, H.B. and Lucille Horn Foundation, Ms. Laura McCabe-Edgar, and Carolyn and Alex Mehran;
and Full-Length Ballets Sponsor Koret Foundation.
What is a Romantic ballet?
Instant
Expert
Giselle has often been called the greatest Romantic ballet of all time. Romantic ballets such
as Giselle and La Sylphide were created in the early to mid-19th century, and were influenced
by Romanticism in art and literature, often focusing on love, nature, and higher powers.
The Romantic era marked the rise of the ballerina as a central part of ballet, where previously
men had dominated performances.
2014 SE ASON | PROGR AM 1 | 23
the story of giselle
ACT I
Giselle begins in the village of Thuringen,
located in the German Rhineland. Giselle,
a lovely peasant girl with a weak heart
and a passion for dancing, is courted by
a young man known to her as Loys. He is,
in fact, Albrecht, Duke of Silesia,
disguised as a peasant. Loys vows
eternal love for Giselle, but the mood is
shattered by Hilarion, a woodsman. He
has long been in love with Giselle, but she
rejects him and makes clear her feelings
for Loys. Hilarion is suspicious of Loys,
and he angrily vows to uncover the true
identity of this mystery man and
separate the two lovers.
Giselle and Loys are met by friends
and villagers on their way from the
vineyards, and all join in a dance. But
Berthe, Giselle’s mother, admonishes
the girl for dancing so much, afraid
that her daughter’s heart will give out.
She tells Giselle and the villagers the
story of the Wilis, young women who
died before their wedding day and
must spend eternity dancing. This, she
fears, will be Giselle’s fate. Berthe
leads a reluctant Giselle indoors, and
Loys takes his leave.
Horns sound in the distance, signaling
the imminent arrival of a hunting party.
Hilarion returns and breaks into Loys’
hut as the horns sound again. The
hunting party arrives, led by the Duke
of Courland and his daughter, Bathilde,
who are seeking sustenance.
horn, and Loys, or Albrecht, can no
longer conceal his identity. Not only is
he a nobleman, but he is engaged to
Bathilde! Giselle is distraught beyond
measure. She stabs herself with
Albrecht’s sword and sinks into
madness. Weakened physically and
emotionally, she collapses and dies.
ACT II
Giselle has been buried in a forest,
close to a lake. Hilarion comes to
grieve at her grave, but does not
linger; he senses the presence of Wilis.
SARAH VAN PATTEN IN TOMASSON’S
GISELLE (© ERIK TOMASSON)
party disperses. Hilarion emerges from
Loys’ hut holding his rival’s sword. He
notices the hunting horn hanging
outside Giselle’s cottage, and on closer
examination, he sees that it is branded
with the same crest as the sword. He
feels vindicated, triumphant. But
before he can expose Loys’ deception
to Giselle, the vintagers return.
Hilarion hides the sword and waits.
Giselle’s friends return and crown her
Queen of the Vintage. Everyone
dances in celebration of the harvest,
including Giselle and Loys. But their
revelry is interrupted by an angry
Hilarion, who rushes toward Giselle
and denounces Loys as a deceiver. He
presents the sword as proof. Giselle
does not want to believe him. Hilarion
summons the hunting party with the
As Giselle sees to her guests, Bathilde
engages her in conversation. The
noblewoman inquires whether Giselle has
a boyfriend, and Giselle explains that she
is engaged. Bathilde responds that she is
also engaged and asks after Giselle’s
fiancé. Giselle says that she is looking for
him but can’t find him. Bathilde is
charmed by Giselle, and requests the
Duke’s permission to present the girl with
her necklace. Giselle is so delighted by
the gift that, as a gesture of thanks, she
dances for Bathilde.
The Duke and Bathilde go to Giselle’s
cottage for a rest, and the hunting
24 S A N F R A N C I S C O B A L L E T
ANITA PACIOTTI IN TOMASSON’S
GISELLE (© ERIK TOMASSON)
Myrtha, Queen of the Wilis, summons
her subjects to appear and assist her
in initiating Giselle to their sisterhood.
The Wilis hide about the forest as
Albrecht, full of remorse and sorrow,
comes to mourn at Giselle’s grave and
seek her forgiveness. She suddenly
appears before him, and he runs off in
pursuit of her. Meanwhile, Hilarion has
been found in the forest by the Wilis.
On Myrtha’s orders, they make him
dance until he is exhausted and then
cast him into the lake, where he dies.
Now Albrecht’s presence is revealed,
and Myrtha commands that he, too,
must die. Giselle intervenes, telling
him to seek shelter at the cross of her
grave, where she stands in protection.
But the vengeful Myrtha orders
Giselle to dance. She obeys, and
Albrecht is soon drawn to her. They
beg the Wilis to help them, but their
pleas are rebuffed. They begin a pas
de deux, and Myrtha now realizes how
Albrecht will meet his death. She will
see to it that he dances until he dies.
A weary Albrecht pleads to put a halt
to his dancing. His entreaty is refused.
Giselle again pleads for his life, but
she cannot sway Myrtha. Albrecht
continues to dance, until he collapses
from exhaustion. But the darkness of
the forest is broken by the first light
of dawn, banishing the Wilis. Giselle
returns to the earth. Albrecht,
overcome by his love for Giselle and
by the generosity of her forgiveness,
is left to weep at her grave.
bios
HELGI TOMASSON
Production and Choreography
See bio page 14
MIKAEL MELBYE
Scenic, Costume, and Lighting Design
Following a distinguished career as
a baritone at some of the world’s
foremost opera companies, Mikael
Melbye made a successful career
transition in 1994, when he began
to work as a director and designer.
That year, he designed and directed
Così fan tutte at the Royal Danish
Opera, followed by Turandot for the
same company. He was appointed the
first director/designer for this house,
creating productions in both opera and
ballet, including Arabella, Capriccio,
Salome, Die Zauberflöte, La Bohème,
Il Trovatore, and Rigoletto. He was
invited to design Aida for the opening
of The New Royal Danish Opera in
2005, returning in 2006 to direct and
design Britten’s The Turn of the Screw.
Among Melbye’s other works are the
sets, costumes, and lighting for San
Francisco Ballet’s Giselle; direction,
sets, and costumes for Houston Grand
Opera’s Arabella; direction and scenic
design for Rigoletto at Santa Fe Opera;
direction, sets, and costumes for The
Nutcracker at Copenhagen’s Tivoli
Gardens; set and costumes for Alexei
Ratmansky’s Anna Krenina, which
has been performed in Copenhagen,
Helsinki, Vilnius, Warsaw, and at the
Mariinsky theatre by the Kirov Ballet;
set and costumes for Bournonville’s La
Sylphide, which has been performed in
Copenhagen, Stockholm, Prague and
Beijing; sets for Bournonville’s Napoli
performed in Moscow and Prague;
and direction and design for opera
companies virtually worldwide.
Theatre of Harlem, San Francisco
Ballet, and Ballet West. She enjoys
a very successful relationship with
Stanton Welch, and has designed
the lighting for many of his ballets
including Maninyas, Taiko, Tutu and
Falling for San Francisco Ballet,
Madame Butterfly for Boston Ballet
and Houston Ballet, Clear for American
Ballet Theatre, and Swan Lake, Play,
Cinderella, Tapestry, and Marie for
Houston Ballet.
LOLA DE AVILA
Assistant to Mr. Tomasson for
this production
Lola de Avila was trained in Zaragoza,
Spain by Maria de Avila and at the
Rosella Hightower School in Cannes.
Under the guidance of Rosella
Hightower, de Avila began her
professional career at the early age of
15 in La Sylphide. Throughout her
career she performed a wide variety
of repertory, and shared the stage
with Rudolf Nureyev and Erik Bruhn,
among others. De Avila has held a
number of prestigious artistic
positions including ballet mistress,
assistant to the artistic director, and
head of the school for National Ballet
of Spain, where she served for eight
years; director of Maria de Avila Ballet
School; and resident ballet mistress
with Ballet de Genève. In addition, de
Avila has coached company members
from Boston Ballet in Swan Lake, and
staged her production of Giselle for
Maggio Fiorentinao in 2005. De Avila
worked with San Francisco Ballet
for nearly two decades; serving as
master guest teacher in 1990,
associate director of SF Ballet School
from 1992-1999 and returning to
the position 2006-2012, assisting
Helgi Tomasson on staging
productions such as Giselle and
Swan Lake, and coaching principal
dancers in a variety of works from
the classical ballet repertory.
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LISA J. PINKHAM
Assistant Lighting Design
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tradition, has been around for three
centuries. Isn’t it time you tried it?
Lisa J. Pinkham has designed lighting
for over 200 ballets, operas, and plays
and is currently the lighting designer
at Houston Ballet. Her lighting can
be seen in the repertories of many
national companies including American
Ballet Theatre, Birmingham Royal
Ballet, Pacific Northwest Ballet, Dance
710 South B St. San Mateo 650.342.8700
1686 Market St. San Francisco 415.552.8792
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Job # / Name: ESP-044 SF Ballet_Jan2014_1/3 Pg_Trendy_ME03
Publication: SF Opera
Due at pub: 12/13/13
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| PROGR AM 1 | 25
2014 SEDate:
ASON
Issue date: 01/25/13
program notes
DORES ANDRÉ AND CLARA BLANCO IN TOMASSON’S GISELLE (© ERIK TOMASSON)
At 173 years old, Giselle remains a
vigorous perennial. Choreographed by
Jean Coralli and Jules Perrot, it is the
jewel of the Romantic ballets, surpassing
even its much-admired predecessor,
August Bournonville’s La Sylphide. Since
its premiere in Paris in 1841, Giselle
has not merely endured—it’s one of the
most frequently performed ballets in the
world’s classical repertory.
The story of Giselle originated in a
German legend about ethereal creatures
called Wilis. These maidens, who had been
betrayed by their lovers and then died
before they could wed, emerge from their
graves at night to seek vengeance on any
man who happens upon them. Théophile
Gautier, a poet and leader of the Romantic
movement in the French art world,
discovered the legend in the writings of
German poet Heinrich Heine and decided
it would make a beautiful ballet. He
enlisted playwright Jules-Henri Vernoy
de Saint-Georges to help him translate
the eerie tale into a theatrical production.
Together with composer Adolphe Adam,
these collaborators produced an instant
success: Giselle, ou les Wilis.
26 S A N F R A N C I S C O B A L L E T
San Francisco Ballet first presented Giselle
in 1947, courtesy of Anton Dolin, a
former dancer with Diaghilev’s Ballets
Russes, The Royal Ballet, and Ballet
Theatre (now American Ballet Theatre),
who had formed a touring company
with Alicia Markova. But it wasn’t until
1999, when Artistic Director & Principal
Choreographer Helgi Tomasson recreated the Romantic classic, that SF
Ballet’s dancers could call it their own.
Dolin’s version, based on the original,
featured himself and Markova in the lead
roles, with SF Ballet dancers filling out
the ranks. Portions of Giselle returned to
the Company’s repertory in 1965
(the peasant pas de deux) and 1975
(the grand pas de deux, again performed
More than 100 years after its
premiere, Giselle became dear
to the heart of a young Icelandic
dancer, Helgi Tomasson.
“I fell in love with that ballet.”
– Helgi Tomasson, SF Ballet
artistic director & principal
choreographer
by guest artists). Twenty-four years
later, Tomasson gave his dancers a new
production in which they, not guest
artists, would dance the leading roles.
“New,” however, is a relative term.
Tomasson tailored a Giselle that remains
true to the original story and its themes
of love, betrayal, and forgiveness. Like
many productions, it retains most of the
Coralli/Perrot choreography, handed
down largely thanks to Marius Petipa,
who restaged Giselle in classic form in
St. Petersburg in 1884. Over the years,
though, choreographers have taken
creative license with the ballet, placing
Giselle in an insane asylum, for example
(Mats Ek’s production for Cullberg
Ballet), or setting the action in Louisiana,
where the Wilis haunt the bayou rather
than the forest (Frederic Franklin’s
version for Dance Theatre of Harlem).
More than 100 years after its premiere,
Giselle became dear to the heart of a
young Icelandic dancer, Helgi Tomasson.
“I fell in love with that ballet,” he says.
“I loved dancing Albrecht.” He danced in
four productions, with four companies:
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Erik Bruhn’s for the Royal Danish Ballet,
Alicia Alonso’s at the Paris Opéra Ballet
(with Noëlla Pontois), David Blair’s for
American Ballet Theatre, and Anton Dolin’s
at National Ballet of Iceland. “When I set
out to mount the ballet,” Tomasson says,
“I tried to bring my love for it to the stage.”
Tomasson retained much of Dolin’s
approach to the ballet, which was
filtered down from Alicia Alonso, Olga
Spessivtseva, and Alicia Markova.
“A lot of things Dolin had spoken about
came into my mind as I was working on
this production, particularly the way he
interpreted Albrecht,” Tomasson says.
“He made him more noble, aristocratic.
It’s because of circumstances that he
leaves Giselle in the first act; it’s not
his choice. He realizes how much in
love with her he is.”
Tomasson recalls how Dolin talked about
images and “showed the movement.
Like when he was on the bench with
Giselle—how he would stand, how he
would be with her.” Tomasson speculates
about why Albrecht might be drawn to
Giselle: “Is it because he doesn’t care for
the superficiality of the court? Is that
what led him away? And her innocence,
her joy of life—she wasn’t pretending to
be someone else. Maybe that’s what he
fell in love with first.” Making Albrecht
a sympathetic character enhances the
poignancy of the love story.
Though Tomasson, a self-described
traditionalist, wanted to honor Giselle’s
history, he recognizes that dancers
and audiences change over time;
consequently, he looked for ways to
update the ballet while remaining
true to the original style and intent.
Such choreographic fine-tuning is
like walking a tightrope: you want
to engage new audiences without
alienating those who know and love the
tradition imbued in the classics. Some
changes you make “because of what
you have around you,” says Tomasson.
“We have fabulous male dancers these
days, in many companies. Is there a
way to incorporate them [more fully]
into the production and still have it
make sense?”
Tomasson felt compelled to give his
men more to do. To expand Albrecht’s
dancing role, he made a pas de deux
for Giselle and Albrecht in the first act;
he set it to a portion of the original
score that had fallen out of use,
thinking it appropriate to reinstate
it. “To me, Albrecht wanted to show
off for Giselle, and how would he do
that?” Tomasson says. “In ballet, he
would dance. The music was there,
so why not do that?” He also changed
the Act I peasant pas de deux to a pas
Instant
Expert
What are some
characteristics of
Romantic ballerinas?
Romantic ballerinas are characterized
by soft, rounded arms, and a forward
tilt in the upper body. The technical
demands placed on the Romantic
ballerina are no less demanding than
in any other type of ballet, but the
posture gives the woman a flowery,
willowy look.
SAN FRANCISCO BALLET IN TOMASSON’S GISELLE (© ERIK TOMASSON)
28 S A N F R A N C I S C O B A L L E T
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de cinq. After all, he reasoned, there
were dancers he wanted to feature,
and it made sense that a dance that
celebrates friendship and the harvest
would include more people. “[George
Balanchine] always said to me, ‘Use
what you’ve got,’ ” Tomasson says. “And I
have wonderful dancers.”
To perform Giselle well requires
impeccable technique and the ability
to immerse oneself in the characters
that occupy an “otherworld”—a world in
which undead brides-to-be fly through
the forest at night and make strong
men dance to their deaths. Whether
What is a
Romantic tutu?
Instant
Expert
A Romantic tutu is a full, white,
multi-layered mid-calf skirt made
of tulle. The tutu is free flowing to
emphasize lightness and to suit the
ethereal quality of Romantic ballets
such as Giselle. The Romantic tutu
was a departure from the shorter
classical “pancake” tutu, a very
short, stiff skirt that extends
straight outwards from the hips in
a flat pancake shape.
MARIA KOCHETKOVA IN TOMASSON’S GISELLE
(© ERIK TOMASSON)
30 S A N F R A N C I S C O B A L L E T
audiences connect emotionally with the
fantastic story—and thus come to care
about that world’s inhabitants—depends
largely on the choices made by the
choreographer, and the dancers as well.
Giselle is famous for its difficult
footwork, balances, and virtuoso
sequences—all done, if you’re Giselle or
Myrtha (Queen of the Wilis), while looking
otherworldly, weightless, and alternately
serene, vengeful, or sad. But character is
equally important. Giselle, in the course
of a brief intermission, leaves her naïve
girlhood behind and becomes a mature,
loving wraith/woman capable of forgiving
Albrecht for his betrayal. Albrecht
can be played as a conniving cad or,
as Tomasson prefers, a misguided,
earnest young man in love, confused
and frustrated by the social limitations
imposed on him by nobility. And the
outwardly heartless Myrtha must find
a shred of humanity in her no-longerhuman form that allows her to hesitate
when Giselle pleads for Albrecht’s life.
Without this kind of emotional depth
from the dancers, the characters
become flat and distant.
For Principal Dancer Maria
Kochetkova, Giselle stands apart
from other classical ballets because
of the profound changes the central
character goes through. “It’s more
than a fairy tale,” Kochetkova says. “It’s
much deeper; the story is much more
intense. It’s a drama.” She calls Aurora
in The Sleeping Beauty, for example,
“only one person,” while in Giselle
“you get to be so different, from the
peasant girl into the mad scene and
then into the ghost creature. It’s such
an amazing story to live onstage.”
Kochetkova wasn’t quite as enthusiastic
the first time she was asked to dance
the role, at age 19. When Vyacheslav
Gordeyev invited her to perform Giselle
with the Russian State Ballet in St.
Petersburg, she turned him down. “It’s
not me. I don’t know how to do it. It’s
not my kind of role,” she told Gordeyev.
Eventually she acquiesced. During
rehearsals in London, Tamara Rojo, then
a principal dancer with The Royal Ballet
(now artistic director of English National
Ballet), told Kochetkova to watch the
film Dancer in the Dark, in which Björk
portrayed a woman going blind.
Björk’s performance—of a woman
desperate to maintain her life
despite her loss of sight—influenced
Kochetkova’s interpretation of the mad
scene in Giselle. “I didn’t want to be a
madwoman running around,” she says.
“I didn’t want it to be scary; I wanted
people to feel sorry for her.” To further
flesh out the character, Kochetkova
watched interviews and programs
and read books about Giselle. “You
need to know all the background in
your head,” she says, “who she is,
how she feels, not just that she’s a
peasant girl. You need to know where
she was yesterday and what she did a
year ago, how she is with Hilarion and
Albrecht.”
Now, years later, Kochetkova
says she sees Giselle completely
differently. “The more you do it and
the more you study, the more you
understand,” she says. She equates
revisiting a role to rereading a book.
“Sometimes you understand, but
not quite, and you have to read it
a second time. And it becomes so
suddenly clear for you. That’s how
I feel with Giselle.” The first time
she danced the role she grappled
with the technique. Later, as her
understanding of the character
grew, the steps became natural.
“It’s suddenly so clear—that’s why I
plié here, that’s why I turn my head
to him here,” she says. “It all makes
sense. The steps are the way to
express whatever you do onstage. I
feel like every single step is genius.
Everything is in the music; it leads
you into each mood. You come on in
the first scene and it leads you into
the rest of the ballet.”
Of particular note is a deep penché
(forward-leaning) arabesque in the
second act. Giselle is surrounded
by lines of immobile Wilis, and the
stillness of the moment can make the
choreography seem daunting. The
penché comes out of a turn, creating
one long, sustained balance. To
Kochetkova, it’s absolutely necessary
because it prepares the dancer for
and the role as “technically brutal.”
“She has to be very commanding,
and that’s the hardest part, because
you’re exhausted—it’s so technically
demanding.” The leader of the Wilis
has to be “one huge, powerful thing,”
Waldo says. Yet underneath Myrtha’s
bitterness and desire for vengeance,
there’s “a glimmer of the young girl she
was. The love that Giselle and Albrecht
have for each other is so big that it
lightens something in her.”
Choreography conveys character,
which, according to Kochetkova,
comes from each individual. “It’s the
same steps, but the story can be so
different—what’s behind it, how the
ballerina feels,” she says. “It’s personal.
That’s why this ballet stays for
centuries now.”
That love is dramatized in a pivotal
moment at the beginning of the
second act. When Giselle enters,
at first Albrecht can’t see her; he
only senses that something’s there.
Gradually he realizes that what he
senses is Giselle’s presence. As
they dance together, the girl he
betrayed becomes real to him. Their
deep devotion, so powerful that
it transcends even death, makes
audiences, like Giselle, forgive
Albrecht. By the time a devastated
Albrecht throws himself on Giselle’s
grave, viewers have fallen under the
spell of this eternal love story.
According to Ballet Master Katita
Waldo, who danced Myrtha when she
was a principal dancer in the Company,
Tomasson gives his dancers plenty of
freedom to interpret their roles. “He
tries to find what will work for you,
to bring out whatever is in you that
will be this character,” says Waldo.
She describes Myrtha as “complex”
Back by popular demand!
cinderella
MAR 11-23
“A triumph of storytelling
and design. A must see!”
— San Francisco Examiner
Program notes by Cheryl A. Ossola
Production Credits: All music and orchestrations are by Adolphe Adam (unless
otherwise noted). Adam wrote the music to Giselle between April 11 and June 8,
1841. Most of the music used in this new production is published and available for
purchase by Kalmus Music Publishers (however, there is no published score that
includes all of the music traditionally used in modern performances of Giselle).
A copy of an 1854 manuscript score in the Paris Opéra archives was used as a
reference in preparation of the orchestral materials, which included several details
Cheered by sold-out audiences
last season, Christopher Wheeldon’s
Cinderella is a ballet experience
unlike anything you’ve seen before.
This wildly imaginative, funny, and
romantic production features a
powerful score by Prokofiev,
spectacular sets and costumes,
and breathtaking dance.
MARIA KOCHETKOVA IN WHEELDON’S CINDERELLA (© ERIK TOMASSON)
the action to come. “It puts you into
the mood for the second act, because
you have to be so concentrated and
quiet. You really have to control it. It’s
so quiet, so slow. It’s like a transition—
it transmits me into a different
world. I know it’s scary, I know it’s
hard, but I feel like that’s the whole
point. It makes total sense for me in
the choreography.” She smiles and
adds, “Apart from that, it looks quite
beautiful when you don’t wobble!”
missing from the published edition. Additional orchestrated and arranged music
was printed for these performances: ACT I—Peasant Pas de Cinq: traditional interpolation of music by Freidrich Burgmüller; Ladies Variation: “Shepherd’s Return”
from 18 Etudes de Genre for piano solo, orchestrated by Emil de Cou; Giselle’s
Variation: traditional music attributed to Ludwig Minkus; ACT II— “Finale-allegro
con moto,” arranged and orchestrated by Emil de Cou. Cathedral bells courtesy of
San Francisco Opera. Costume Supervisor, Anna Watkins, London, England; Fabric
printing and dyeing by Schultz & Wiremu; Hats and headresses by Mark Wheeler;
Costumes constructed by Wallace & McMurray, Barbara Jane, John Sheward,
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Cinderella
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Jane Johnson, Sue Smith, Roxy Cressy, Lal d’Abo; Additional costumes constructed
by Andrea Riner; Tights dyed by Amy Van Every. Boots by Pluma, Inc. of Portland,
Oregon, and John Hiatt of Salt Lake City, Utah. Scenic construction and painting
by San Francisco Ballet Carpentry and Scenic Departments, at the San Francisco
Opera Scenic Studios. Flying by Foy. Borzoi Handler, Daniel Alm.
2014 SE ASON | PROGR AM 1 | 31
32
THE HAMBURG BALLET IN NEUMEIER’S A MIDSUMMER NIGHT’S DREAM (© HOLGER BADEKOW)
The Hamburg Ballet—John Neumeier
A Midsummer Night’s Dream:
A Ballet by John Neumeier
Choreography and Staging: John Neumeier
Stage Design and Costumes: Jürgen Rose
Music: Felix Mendelssohn and György Ligeti with traditional music for mechanical street organ
World Premiere: The Hamburg Ballet, Hamburg, 10 July 1977
Music, in order:
Prologue
Felix Mendelssohn (1809–1847): “A Midsummer Night’s Dream” Overture
Act I
György Ligeti (1923–2006): “Volumina” for Organ
Mendelssohn: “A Midsummer Night’s Dream”—Scherzo, March of the Fairies, Intermezzo
Street Organ Music
Mendelssohn: “Son and Stranger” Overture
Street Organ Music
Ligeti: “Harmonies,” Etude No. 1 for Organ; “Volumina” for organ
Mendelssohn: “Ruy Blas” Overture
Ligeti: “Continuum” for Harpsichord; “Coulées” Etude No. 2 for organ
Act II
Mendelssohn: “A Midsummer Night’s Dream” Nocturne
Street Organ Music
Mendelssohn: “Calm Sea and Prosperous Voyage” Overture; “A Midsummer Night’s Dream”—Wedding March,
Marcia funebre, A Dance of Clowns
Street Organ Music including themes from Giuseppe Verdi’s La Traviata
Mendelssohn: “Athalia” Overture; “A Midsummer Night’s Dream”—Final Scene and Melodrama
Recorded performers:
Zsigmond Szathmáry, organ
Antoinette Vischer, harpsichord
2014 SE ASON | PROGR AM 1 | 33
synopsis: a midsummer night’s dream
PROLOGU E
Hippolyta’s Room
On the evening before the wedding of
Hippolyta and Theseus, Duke of Athens,
last minute preparations are being made,
supervised by Philostrat, Master of the
Revels at Theseus’ court. Hippolyta’s
friends, Helena and Hermia, help to put
finishing touches on her bridal gown.
The Court Treasurer presents the bridal
jewels to Hippolyta. He is accompanied
by the officer, Demetrius, Helena’s
former fiancé, who is now unsuccessfully
intent on winning Hermia’s attentions.
Helena still loves Demetrius. The
gardener Lysander arrives, bringing
over Lysander. Helena accidentally
awakens Lysander and he at once falls
passionately in love with her. Confused
by his attentions, she flees. Hermia
awakens and searches for Lysander.
Bottom and his companions are
looking for a spot in the woods to
rehearse their play. The place found,
roles are distributed and Bottom leads
the rehearsal. They are observed
by Puck, who, as a joke, transforms
Bottom’s head into that of an ass.
Frightened at his appearance, the
other rustics run away.
Theseus’ rose in her hand. She dreams...
Titania and her followers fall asleep
and Puck now uses the love-flower on
her. She is accidentally awakened by
Bottom, and is suddenly consumed with
desire for him. Observing Demetrius,
whose affections are still directed
towards Hermia, Oberon realizes Puck’s
mistake and orders him to use the flower
on the sleeping Demetrius. Helena,
pursued by Lysander, stumbles over
and awakens Demetrius. He also falls
madly in love with her. Confusion reigns.
Oberon commands Puck to bring all the
relationship in order. The elf arranges
the sleeping lovers in their proper
combinations and once again uses the
love-flower.
ACT I
ACT II
Night—In the Wood | The Fairy Realm
Dawn in the Woods
The lovers awaken and are united—
Hermia with Lysander, Helena with
Demetrius. The rustics find Bottom.
Hippolyta’s wedding flowers.
He loves Hermia, and his love is returned.
He secretly gives her a letter asking her
to meet him in the woods under an olive
tree. Helena finds the letter and shows
it to Demetrius. A group of rustics, lead
by the weaver Bottom, present Hippolyta
with their text for a play “Pyramus and
Thisbe” which they wish to perform for the
marriage festivities. Theseus arrives to visit
Hippolyta. Although he brings her a rose,
Hippolyta is aware of his flirting with the
ladies of the court. Left alone, Hippolyta
finds and reads Lysander’s love letter to
Hermia. Pensive, she falls asleep with
Titania, Queen of the Fairies, argues with
Oberon, King of the Elves. In his anger,
Oberon gives Puck a flower which has
magical powers. If shaken over the eyes
of someone asleep, that person will fall
in love with the first person seen upon
awakening. Oberon orders Puck to use
the love-flower on Titania. Lysander and
Hermia meet in the wood. Demetrius
looks for Hermia, followed by Helena. All
are observed by Oberon. Taking pity on
Helena, Oberon orders Puck to use the
love-flower on Demetrius, so that he will
return her love.
Lost in the woods, Lysander and Hermia
lie down to sleep. Mistaking him for
Demetrius, Puck shakes the love-flower
34 S A N F R A N C I S C O B A L L E T
Hippolyta’s Room
After quietly observing the sleeping
Hippolyta—dreaming upon her
couch—Theseus gently awakens her.
A love develops between them. Both
pairs of lovers enter and beg Theseus’
permission to wed. The Duke of Athens
blesses their unions.
A Festive Room in Theseus’ Ducal Palace
The wedding ceremonies begin.
The rustics perform their play. After the
wedding guests have left, Oberon and
Titania are again united in love.
A R TIST ’ S
STAT EMEN T
My world is dance. As long as I can
remember, I have always wanted to
dance—even before I actually knew
what it was! But, almost from the
beginning, I wanted not only to dance
myself, but to create dances, to tell
wordless stories using movement.
It is our nature to be in movement.
Even while standing still, our heart must
pump, the blood constantly flows, and
our breath rises and falls. Movement is
the very sign we are alive. But, what has
always interested me most are those
special movements, guided by feelings,
inspired by emotions which can give
shape to our desires, visions, and
longings, movements which move us.
It is my wish in choreography to translate
our most intimate experiences, our
aspirations, and deepest sorrows
honestly into images of beauty.
Dance is the centre of my life—just
as the human being is always at the
centre of dance. ‘Man’ is its subject and
at the same time its instrument. This
instrument—the body—needs ‘tuning’,
needs a technique to make it articulate.
The choreographer uses this well-tuned
body instrument to shape his dreams.
I feel privileged in my world. Although it is
one of extreme hard work, concentration,
dedication, disappointments and
unconditional commitment—the world
of dance never demanded sacrifice
from me. Dance is a labour of love.
I wish you exciting and intensive
performances with The Hamburg Ballet.
– John Neumeier
Located on the South Mezzanine, the Shop is open one hour before performances, during intermission,
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the hamburg ballet—john neumeier
touring ensemble
BALLETTINTENDANT
CORPS DE BALLET
TECHNICAL DIRECTOR
John Neumeier
Kristina Borbélyová, Mayo Arii,
Bernd Klein
MANAGING DIRECTOR
Ulrike Schmidt
CONDUCTOR
Michael Schmidtsdorff
Hannah Coates, Yaiza Coll,
Futaba Ishizaki, Xue Lin, Aurore Lissitzky,
Ekaterina Mamrenko, Natalie Ogonek,
Yun-Su Park, Zhaoqian Peng, Lucia Ríos,
Priscilla Tselikova, Sophie Vergères,
Miljana Vračarić, Braulio Álvarez,
ARTISTIC PRODUCTION
COORDINATOR
Emanuel Amuchástegui, Jacopo Bellussi,
Eduardo Bertini
Christopher Evans, Graeme Fuhrman,
Zachary Clark, Orkan Dann,
Marc Jubete, Marcelino Libao,
STAGE TECHNICIANS
Jörn Fischer, Andreas Weiland
Lars Biere, Lars Grundhöfer,
Mike Mietzner, Stefan Schunk
PROPERTIES MASTER
Jürgen Tessmann
PROPERTIES TECHNICIAN
Oliver Busack
FIRST BALLET MASTER
Florian Pohl, Lennart Radtke, Sasha Riva,
Kevin Haigen
Dale Rhodes, Thomas Stuhrmann,
HEAD ELECTRICIAN
Lizhong Wang, Eliot Worrell
Ralf Merkel
Eduardo Bertini, Laura Cazzaniga,
ASPIRANTS
ELECTRICIANS
Leslie McBeth, Niurka Moredo,
Emilie Mazon, Hannah Beach,
Andreas Rudloff, Alexander Janew,
Lloyd Riggins, Radik Zaripov
Winnie Dias, Emilie Mazoń,
Ryoho Manaka, Björn Portala,
Hayley Page, Aljoscha Lenz
Tobias van Harten
TOUR MANAGER
HEAD OF SOUND
Rachel Gimber
Frederic Couson
HEAD OF PRESS AND
COMMUNICATIONS
SOUND TECHNICIAN
BALLET MASTERS & MISTRESSES
CHOREOLOGIST
Sonja Tinnes
MUSICAL COORDINATOR
Richard Hoynes
PIANIST
Jerome Cholet
Ondrej Rudčenko
ASSISTANT TO THE
BALLETTINTENDANT
FIRST SOLOISTS
Catherine Dumont
Carolina Agüero, Silvia Azzoni,
ASSISTANT TOUR MANAGER
Hélène Bouchet, Alina Cojocaru as guest,
Leslie Heylmann, Anna Laudere,
Anna Polikarpova, Thiago Bordin,
Otto Bubeníček, Carsten Jung,
Edvin Revazov, Alexandre Riabko,
Lloyd Riggins, Alexandr Trusch, Ivan Urban
SOLOISTS
Florencia Chinellato, Patricia Friza,
Yuka Oishi, Silvano Ballone,
Lisa-Christin Barner
PHOTOGRAPHER AND GRAPHIC
DESIGNER
Holger Badekow
PHYSIOTHERAPIST
Monika Brandt
Jochen Schefe
WARDROBE MISTRESS
Barbara Huber
DRESSERS
Diana Räkers, Leonie Rode,
Sandra Schmidt, Karoline Berengo,
Susan Pieper, Karina Rüprich
MAKE-UP ARTISTS
Lydia Hauser, Adnan Metin,
Janne Buck, Christine Krüger,
Klara Lojkasek, Dennis Peschke
STAGE MANAGER
Ulrich Ruckdeschel
Rock-It Cargo Germany
Dario Franconi, Aleix Martínez,
TECHNICAL COORDINATOR
International Logistics Services
Konstantin Tselikov, Kiran West
Vladimir Kocić
Logistic Partner
36 S A N F R A N C I S C O B A L L E T
© STEVEN HABERLAND
the hamburg ballet—john neumeier
leadership
J OHN N EUMEIER
Artistic Director
The Hamburg Ballet
John Neumeier was born in 1942 in
Milwaukee, Wisconsin, where he also
received his first dance training. He
acquired a Bachelor of Arts degree in
English Literature and Theater Studies
from Marquette University, Wisconsin,
where he created his first choreographic
works. He went on to study ballet both
in Copenhagen and at the Royal Ballet
School in London. In 1963 John Cranko
engaged him at the Stuttgart Ballet,
where he progressed to solo dancer.
In 1969 Ulrich Erfurth appointed
Neumeier as Director of Ballet
in Frankfurt. Since 1973 John
Neumeier has been Artistic
Director and Chief Choreographer
of The Hamburg Ballet; he has
been “Ballettintendant” (General
Manager) since 1996. The Hamburg
Ballet became one of the leading
ballet companies in the German
dance scene and soon received
international recognition.
As a choreographer, Neumeier has
continually focused on the preservation
of ballet tradition, while giving his
works a modern dramatic framework.
His commitment to this end has
manifested itself particularly in his
revised versions of classical story
ballets. He has received particular
acclaim throughout the world for his
choreographies on symphonies by
Gustav Mahler.
In 1975, Neumeier conceived the
Hamburg Ballet Festival as a climax and
end to each season. In 1978 Neumeier
founded The School of The Hamburg
Ballet. In 1989 the school, together
with the company, moved into its own
“Ballettzentrum” (ballet center) provided
by the city of Hamburg. Its facilities
include nine studios and a boarding
school for over 30 students. Today more
than 80% of the company’s dancers are
graduates from the school. His latest
creations for The Hamburg Ballet are
Purgatorio and Liliom, premiered in 2011,
and Christmas Oratorio I-VI in 2013.
In 1983, he received the Dance Magazine
Award.Neumeier has worked as guest
choreographer with many companies,
including The Royal Ballet in London;
The Vienna, Munich and Dresden State
Operas; The Stuttgart Ballet (for which
he has created several works); The
Royal Danish Ballet; The Ballet of the
Paris Opera; The Tokyo Ballet; American
Ballet Theatre in New York; The National
Ballet of Canada; The Ballet of the
Mariinsky Theater; Moscow Bolshoi and
Stanislavsky Ballet; and San Francisco
Ballet, among others.
Neumeier is holder of the Order of the
Federal Republic of Germany. In 2003 he
was appointed to the rank of “Knight of
the Legion of Honor” by French President
Jacques Chirac. In 2006 he received the
“Nijinsky Award” for Lifetime Achievement
and in 2007 he was awarded the “Herbert
von Karajan Music Prize.” He was made an
honorary citizen of the city of Hamburg
in 2007. The following year, he was
awarded his second “German Dance
Prize” on the occasion of their 25th
jubilee. Recently, in November 2012, he
accepted the Order of Friendship of the
Russian Federation.
Neumeier established the John
Neumeier Foundation in February
2006 with the aim to preserving and
eventually making open his collection
of dance and ballet-related objects to
the public. The Foundation will maintain
and secure his repertoire and related
materials for the city of Hamburg. In
2011, Neumeier founded Germany’s
National Youth Ballet. The young
company of eight dancers is based at
the Ballettzentrum in Hamburg but
finds its performing spaces outside
to the Hamburg Opera. In addition to
international touring this creative young
company dances in schools, retirement
homes and prisons.
2014 SE ASON | PROGR AM 1 | 37
the hamburg ballet principal dancers
CAROLINA AGÜERO
LESLIE HEYLMANN
Born in Córdoba, Argentina, Carolina Agüero
Born in Sao Leopoldo, Brazil, Leslie
studied at Ballet School Teatro Rivera Indarte.
Heylmann studied at Ballet Sinos, Ballet
She danced with Córdoba Ballet, Ballet Argentino,
Concerto, and Palucca School. She danced
Ballet de Santiago, Stuttgart Ballet, Dresden
with Dresden SemperOper Ballett before
Ballet, and Finnish National Ballet, before joining
joining The Hamburg Ballet in 2008. She
The Hamburg Ballet in 2006 as a soloist. She was
was promoted to soloist in 2011 and
promoted to principal dancer in 2007.
principal dancer in 2012.
SILVIA AZZONI
CARSTEN JUNG
A native of Turin, Italy, Silvia Azzoni
A native of Gotha, Germany, Carsten Jung
studied at Baletna Skola Torino and
studied at Palucca School and The School
The School of The Hamburg Ballet.
of The Hamburg Ballet. He joined The
She joined The Hamburg Ballet in 1993.
Hamburg Ballet in 1994. He was promoted
She was promoted to soloist in 1996,
to soloist in 1998 and principal dancer in
and principal dancer in 2001.
2004.
THIAGO BORDIN
ANNA L AUDERE
Born in São Paulo, Brazil, Thiago Bordin
Born in Sigulda, Latvia, Anna Laudere
studied at the Ballet School of São Paulo
studied at Riga Ballet School and
and Akademie des Tanzes Mannheim.
The School of The Hamburg Ballet before
He joined The Hamburg Ballet in 2001,
joining The Hamburg Ballet since 2001.
promoted to soloist in 2005 and principal
She was promoted to soloist in 2008
dancer in 2006.
and principal dancer in 2011.
HÉLÈNE BOUCHET
Born in Cannes, Hélène Bouchet studied at
ANNA POLIK ARPOVA
Centre de Danse Rosella Hightower and
Born in Tomsk, Russia, Anna Polikarpova
École Nationale de Danse. She danced with
studied at the Vaganova Academy. She
Ballet National de Marseille and English
danced with the Ballet of the Marinsky
National Ballet before joining The Hamburg
Theatre before joining The Hamburg Ballet
Ballet in 1998. She was promoted to soloist
in 1992 as a soloist. She was promoted
in 2003 and principal dancer in 2005.
to principal dancer in 1994.
EDVIN REVAZOV
OTTO BUBENÍČEK
Born in Sevastopol, Ukraine, Edvin Revazov
Born in Poland, Otto Bubeníček studied
studied at the Moscow School and
at the Conservatory of Dance in Prague.
The School of The Hamburg Ballet,
He joined The Hamburg Ballet in 1993.
before joining The Hamburg Ballet in 2003.
He was promoted to soloist in 1995 and
He was promoted to soloist in 2007 and
principal dancer in 1997.
principal dancer in 2010.
ALINA COJOCARU Guest Artist
Born in Bucharest, Romania, Alina Cojocaru
ALEX ANDRE RIABKO
trained at Kiev State Choreographic Institute
Born in Kiev, Ukraine, Alexandre Riabko
and Royal Ballet School. Prior to joining English
studied at the Kiev Ballet School and
National Ballet, where she is lead principal dancer,
The School of The Hamburg Ballet.
she danced with Kiev Ballet (principal dancer,
He joined The Hamburg Ballet in 1996,
1998) and The Royal Ballet (corps de ballet,
and was promoted to soloist in 1999
1999; soloist, 2000; principal dancer 2001).
and principal dancer in 2001.
38 S A N F R A N C I S C O B A L L E T
HAMBURG DANCER HEADSHOTS © HOLGER BADEKOW, ALINA COJOCARU © ANDRE USPENSKI
the hamburg ballet principal dancers
LLOYD RIGGINS
IVAN URBAN
Born in New York City, Lloyd Riggins studied
Born in Gomel, Belarus, Ivan Urban
at School of Southern Ballet Theatre in
studied at Minsk Ballet School and
Orlando, Florida. He danced with Southern
The School of The Hamburg Ballet.
Ballet Theatre and Royal Danish Ballet
He joined The Hamburg Ballet in 1994.
before joining The Hamburg Ballet as a
He was promoted to soloist in 1997
principal dancer in 1995.
and principal dancer in 1998.
ALEX ANDR TRUSCH
Born in Dnipropetrovsk. Ukraine, Alexandre
Trusch received his training at The School of
The Hamburg Ballet. He joined The Hamburg
Ballet in 2007, was promoted to soloist in
2010, and became a principal dancer in 2014.
“And sleep, that sometimes shuts up sorrow’s eye,
Steal me awhile from mine own company.”
– A Midsummer Night’s Dream III, 2
THE HAMBURG BALLET IN NEUMEIER’S A MIDSUMMER NIGHT’S DREAM (© HOLGER BADEKOW)
2014 SE ASON | PROGR AM 1 | 39
2014 Repertory Season
Jan 25-May 11
expect
breathtaking
beauty
• The return of Christopher Wheeldon’s
smash-hit Cinderella
• Shostakovich Trilogy, a daring new full-evening
collaboration with American Ballet Theatre
• Three world premiere works
• Yuri Possokhov’s thrilling Firebird
SUBSCRIPTIONS STILL AVAILABLE!
415.865.2000 or sfballet.org
2014 Season Sponsors
2014 Media Sponsors
YUAN YUAN TAN AND TIIT HELIMETS IN TOMASSON’S FIFTH SEASON (© ERIK TOMASSON)
san francisco ballet orchestra
2013-14 season
Music Director and Principal
Conductor
Cello
Trombone
Eric Sung, Principal
Jeffrey Budin, Principal
Martin West
Jonah Kim, Associate Principal
Hall Goff
© DAVID ALLEN
Victor Fierro, Assistant Principal
Thalia Moore
Bass Trombone
Nora Pirquet
Scott Thornton, Principal
Contrabass
Tuba
Steve D’Amico, Principal
Peter Wahrhaftig, Principal
Shinji Eshima, Associate Principal
Jonathan Lancelle, Assistant Principal
Timpani
Mark Drury
James Gott, Principal
Flute
Percussion
Violin I
Barbara Chaffe, Principal
David Rosenthal, Principal
Roy Malan, Concertmaster
Julie McKenzie, 2nd & Piccolo
Harp
Janice McIntosh, Associate
Concertmaster
Beni Shinohara, Assistant
Concertmaster
Oboe
Sarah Voynow, Principal **
Laura Griffiths, Principal
Marilyn Coyne, 2nd & English Horn
Heidi Wilcox
*Leave of Absence
** Season Substitute
Mia Kim
Clarinet
Robin Hansen
Natalie Parker, Principal
Brian Lee
Anthony Striplen, 2nd & Bass Clarinet **
Mariya Borozina
Orchestra Personnel Manager
and Music Administrator
Tracy Davis
Bassoon
Violin II
Rufus Olivier, Principal
Music Librarian
Marianne Wagner, Principal
Patrick Johnson-Whitty, 2nd &
Matthew Naughtin
Craig Reiss, Associate Principal
Jeanelle Meyer, Assistant Principal
Patricia Van Winkle
Contrabassoon *
Shawn Jones, 2nd &
Contrabassoon **
Clifton Foster
Elbert Tsai
Horn
Kevin Rivard, Principal
Viola
Keith Green
Anna Kruger, Acting Principal
Brian McCarty, Associate Principal
Joy Fellows, Acting Associate Principal
Bill Klingelhoffer
Caroline Lee, Acting Assistant Principal
Chihiro Fukuda *
Trumpet/Cornet
Elizabeth Prior **
John Pearson, Principal **
Paul Ehrlich
Ralph Wagner
2014 SE ASON | PROGR AM 1 | 41
san francisco ballet staff
HELGI TOMASSON, Artistic Director & Principal Choreographer
GLENN MCCOY, Executive Director
ARTISTIC
Ricardo Bustamante, Ballet Master and
Assistant to the Artistic Director
Felipe Diaz, Betsy Erickson, Anita Paciotti,
Katita Waldo, Ballet Masters
Sarah Malashock, Christensen Society
and Membership Manager
Julia Nottebohm, Special Events Manager
Elizabeth Lani, Planned Giving Manager
Jim Sohm, Research Manager
Mark Holleman, Sales and Service
Supervisor
Jennifer Cooley, Subscription and
Group Sales Coordinator
David Clark, Assistant Treasurer
Yuri Possokhov, Choreographer in Residence
Pamela Sullivan, Major Gifts Officer
Edith Bryson, Michelle Hughes,
Caroline Giese, Artistic Administrator
Jennifer Jordan, Membership Officer
Jericho Lindsey, Jason Narin,
Alan Takata-Villareal, Logistics Manager
Jill Lounibos, Grants Officer
OPERATIONS
Debra Bernard, General Manager
Lauren Chadwick, Company Manager
Juliette LeBlanc, Production Analyst
PRODUCTION
Christopher Dennis, Production Director
Chad Owens, Technical Coordinator
Kevin Connaughton, Lighting Supervisor
Jane Green, Stage Manager
Jessica Barker, Assistant Stage Manager
Nixon Bracisco, Master Carpenter
Kelly Corter Kelly, Master Electrician
Kenneth M. Ryan, Master of Properties
Kevin Kirby, Audio Engineer
John O'Donnell, Flyman
George Elvin, Wardrobe Manager
Andrea Pelous, Head of Women's Wardrobe
Frank Morales, Acting Costume
Production Coordinator
Richard Battle, Make-Up and Wig Supervisor
Melanie Birch, Wig and Hair Stylist
Sherri LeBlanc, Company Shoe Administrator
MUSIC
Martin West, Music Director and
Principal Conductor
Michael McGraw, Nina Pinzarrone,
Natal'ya Feygina, Company Pianists
Roy Malan, Concertmaster
Tracy Davis, Orchestra Personnel
Manager and Music Administrator
Matthew Naughtin, Music Librarian
ADMINISTRATION
Cecelia Beam, Human Resources Manager
Laura Simpson, Board Relations Manager
Kate Schroeder, Human Resources and
Benefits Coordinator
Bonnie Fisk, Assistant to Senior
Executive Staff
Amy Crowson, Corporate Giving Officer
Jasmine Yep, Christensen Society Officer
Ruben Fonseca, Research and
Stewardship Associate
Ingrid Roman, Special Events Associate
Alyssa Saint, Development Database
Coordinator
Jonathan Levin, Senior Development
Associate
Shannon Handa, Major Gifts Assistant
Sarah Horowitz, Individual Gifts Assistant
Abigail Miller, Temporary Special
Events Assistant
Lynn Noonan, Principal Gifts Consultant
Officer
Natalie Quan, Controller
Valerie Ruban, Senior Accountant
Victoria Wilkins, Payroll Coordinator
Hannah Simmonds, Staff Accountant
Casey Trujillo, Accounting Assistant
FACILITIES
Levi Toney, Facilities Manager
Nathan Brito, Facilities Supervisor
Adrian Rodriguez, Facilities Coordinator
Katharine Chambers, Nicole Drysdale,
and Communications
Philip Mayard, Associate Director,
Advertising and Publications
Betsy Lindsey, Associate Director,
Ticket and Patron Services
Kyra Jablonsky, Associate Director,
Communications
Valerie Megas, Senior Manager,
Retail Operations
Mary Goto, Senior Manager,
Marketing and Sales
April Johnston, Marketing and
Promotions Manager
Lauren White, Communications Associate
James Hosking, Video Producer/Editor
Erik Almlie, Media Asset Administrator
Carly Severn, Digital Engagement
Associate
Leslie Rittierodt, Marketing and
Communications Coordinator
Andrew Delaney, Web and Digital
Platforms Manager
Robert Hold, Graphic Designer
Nannette Mickle, Group Sales
Representative
Jennifer Peterian, Box Office
42 S A N F R A N C I S C O B A L L E T
Kim Ondreck Carim, Chief Financial
Todd Martin, Facilities Assistant
Thomas W. Flynn, Director of Development
Fermin Nasol, Principal Gifts Officer
FINANCE
Mary Beth Smith, Director of Marketing
TICKET SERVICES
of Development
Ticket Services Associates
MARKETING & COMMUNICATIONS
DEVELOPMENT
Jennifer Mewha, Associate Director
Patricia Pearson, Nick Valasco,
Manager/Treasurer
Sharon Handa, Patron Services
Manager
Receptionists
Stanley Wong, Evening Facilities
Assistant
Tamara de la Cruz, Weekend
Receptionist
Ralph Baysac, Weekend Facilities
Assistant
INFORMATION TECHNOLOGY
Murray Bognovitz, Director of
Information Technology
Esther del Rosario, IT Operations and
Project Manager
Karen Irvin, Application Administrator
and Help Desk Coordinator
Josh Marshall, Web Administrator
Jiapeng Jiang, IT Specialist
FRONT OF HOUSE
Eric Colby, House Manager
Russell Dado, Laurent Dela Cruz,
Martin Dias, Starsky Dias,
Marialice Dockus, Karen Horvath,
Elaine Kawasaki, Eileen Keremitsis,
Bill Laschuk, Sharon Lee, Lenore Long,
Doug Luyendyk, Dale Nedelco,
Wayne Noel, Beth Norris, Jan Padover,
Julie Peck, Robert Remple, Bill Repp,
Rilla Reynolds, Joe Savin, Tom Taffel,
Richard Wagner, Steve Weiss,
JoAnne Westfall, George Windstrup, Ushers
SF Ballet School
Center For Dance Education
Helgi Tomasson, Director
Charles Chip McNeal, Director of
Patrick Armand, Associate Director
FACULTY
Patrick Armand, Damara Bennett,
Shannon Bresnahan, Kristi DeCaminada,
Yuko Katsumi, Tina LeBlanc, Jeffrey Lyons,
Parrish Maynard, Instructors
Sofiane Sylve, Principal Guest Faculty
Joanna Berman, Guest Faculty
Education
the Union of professional dancers,
singers and staging personnel in
Coordinator
Stacey Blakeman, Curriculum & Special
Projects Manager
Danae Rees, Dance in Schools and
Communities Coordinator
Brian Fisher, Contemporary Dance
James Brosnahan III, Hannah Dworkin,
Leonid Shagalov, Character Dance
David Frazier, Zeke Nealy,
David Chase, Floor Barre
Wade Peterson, Emily Pitcher,
Jamie Narushchen, Music
Jeni Swerdlow, Bongo Sidibe,
Daniel Sullivan, Music
Joti Singh, Maura Whelehan
PIANISTS
COMPANY PHYSICIANS
Ella Belilovskaya, Alla Gladysheva,
Richard Gibbs, M.D., Medical Supervisor
Ritsuko Micky Kubo, Jamie Narushchen,
Rowan Paul, M.D, Primary Care
Pianists
Jamie Narushchen, School Pianist
Supervisor,
Lee R. Crews Endowed Pianist
SCHOOL ADMINISTRATION
Andrea Yannone, Administrative Manager
Christina Gray Rutter, Student Services
Coordinator and Registrar
Katelyn Harris, Administrative Coordinator
Wendy Van Dyck, Trainee Program
Coordinator
Elizabeth Roddy, Administrative Assistant
Rob Chaitin, Residence Manager
Christine Velez, Resident Assistant
Guild of Musical Artists, AFL-CIO,
Cecelia Beam, Adult Education
Pascal Molat, Guest Faculty
Daniel Sullivan, Galina Umanskaya,
Ballet are members of the American
Dina D. Toy, Education Office Manager
DANCE IN SCHOOLS AND
COMMUNITIES STAFF
Rubén Martín Cintas, Guest Faculty
The artists employed by San Francisco
Sports Medicine
Peter Callander , M.D., Keith Donatto, M.D.,
Supervising Orthopedists
Frederic Bost, M.D., Jon Dickinson, M.D.,
Orthopedic Advisors to the Company
Michael Leslie, Company Physical
Therapist
Karl Schmetz, Consulting Physical
Therapist
Active Care, Lisa Giannone, Director,
Physical Therapists/Athletic Training
Leonard Stein, D.C., Chiropractic Care
the United States.
The San Francisco Ballet Association
is a member of Dance/USA; American
Arts Alliance; the Greater San Francisco
Chamber of Commerce; and the
San Francisco Convention and
Visitors Bureau.
Legal Services provided by Bingham
McCutchen LLP; Fallon, Bixby, Cheng &
Lee; Fettmann, Tolchin & Majors, PC;
Epstein Becker & Green, PC; Jackson &
Hertogs; Farella Braun + Martel LLP;
and Pillsbury Winthrop Shaw Pittman
LLP. Auditing services provided by
Deloitte. Insurance brokerage services
provided by DeWitt Stern of California
Insurance Services.
The Centers for Sports and Dance
Medicine at Saint Francis Memorial
Hospital are the official health care
providers for San Francisco Ballet
School. Special thanks to Dr. James G.
Garrick, Dr. Susan Lewis, Dr. Jane
Denton, Dr. Selina Shah, Dr. Rémy
Ardizzone, and Chris Corpus for
generously providing their services.
Henry Berg, Rehabilitation Class Instructor
Michelle Zimmerman, Wellness Program
Manager
Erin Kelly, Residence Desk Staff
Co-Lead Sponsors of the San Francisco Ballet Center for Dance Education.
Major support for the Center for Dance Education is provided by the Flora Family Foundation.
Generous support is provided by the Wells Fargo Foundation, the Gap Foundation, and the Zellerbach Family Foundation.
Lead support for Dance in Schools and Communities is provided by the Charles Henry Leach II Foundation.
Major support for Dance in Schools and Communities is provided by the Chapin Foundation.
Generous support is provided by the Kimball Foundation and The San Francisco Foundation.
2014 SE ASON | PROGR AM 1 | 43
calendar of 2014 repertory season donor events
Listed at right are the 2014 Repertory
Season events through March for
JANUARY
SUN
MON
TUE
WED
THU
FRI
SAT
5
6
7
8
9
10
11
1:30pm
TLC Studio
Rehearsal
members of the Artistic Directors
Council, Chairman’s Council,
Christensen Society or Friends of
12
13
14
19
20
21
Martin Luther
King, Jr. Day
SFBALLET.ORG/DONATE/DONOR_EVENTS.
22
any questions.
27
2pm: 1
FEBRUARY
Giselle
SUN
From Foreign Lands
Val Caniparoli World Premiere!
28
8pm: 1
MON
TUE
29
31
8pm: 1
7:30pm: 1
WED
8pm: 1
THU
8pm: 1
FRI
SAT
4
5
6
7
8
10
11
12
13
14
15
21
22
2pm: 1
9
5:30pm
CS Studio
Rehearsal
16
Firebird
17
18
President’s
Day
5:30pm
CS Dinner
7:30pm:
Hamburg
Ballet
8pm:
Hamburg
Ballet
19
20
12:30pm
CS Tea
10pm
Cast Party
PROGRAM 4
23
24
8pm: 2
7:30pm: 2
8pm: 3
8pm: 2
25
26
27
28
8pm: 2
8pm: 3
2pm/8pm: 3
11:30am
TLC
Luncheon
Back by Popular Demand!
PROGRAM 5
30
3
Ghosts ©
Cinderella
25
2pm/8pm: 1
2
PROGRAM 3
from La Bayadère, Act II
24
1
Borderlands
The Kingdom of the Shades
23
5:30pm
CS Dinner
PROGRAM 1
PROGRAM 2
18
8pm: Gala
26
at [email protected] or
415.865.6624 with
17
5pm
Opening
Night Gala
Contact Christensen Society and
membership manager Sarah Malashock
16
5:30pm
CS and TLC
Season
Preview
San Francisco Ballet, and for April
and May, please visit the website at
15
2pm: 2
8pm: 3
7:30pm: 3
Shostakovich Trilogy West Coast Premiere!
Full-Evening Collaboration
with American Ballet Theatre
MARCH
SUN
MON
TUE
WED
THU
FRI
1
PROGRAM 6
2pm/8pm: 2
Helgi Tomasson World Premiere!
Maelstrom
The Rite of Spring
PROGRAM 7
The Fifth Season
Liam Scarlett World Premiere!
2
3
Agon
4
5
6
7
2pm: 3
9
10
11
12
13
1pm
Open Dress
Rehearsal
16
17
Glass Pieces
14
15
5:30pm
CS Dinner
12:30pm
Ballet History
Lecture
8pm: 4
7:30pm: 4
8pm: 4
8pm: 4
2pm/8pm: 4
18
19
20
21
22
4pm
CS Orchestra
Rehearsal
Brahms-Schoenberg Quartet
CS Trainee
Performace
6pm
ADC
Orchestra
Event
2pm: 4
23
2pm/8pm: 4
24
25
26
5:30pm
CS Studio
Rehearsal
2pm: 4
30
44 S A N F R A N C I S C O B A L L E T
8
5pm
CS Worklight
Rehearsal
Suite en Blanc
PROGRAM 8
SAT
31
27
28
29
The San Francisco Ballet Association Board of Trustees
The San Francisco Ballet Auxiliary
Helgi Tomasson, Artistic Director & Principal Choreographer
want to thank the
Grand Benefactors, Benefactors, Patrons, and Sponsors
LORENA FEIJOO AND VITOR LUIZ IN POSSOKHOV’S TALK TO HER (© ERIK TOMASSON)
of San Francisco Ballet’s Opening Night Gala
sponsor and donor news
Christensen Society
Honorees Ann and
Robert Fisher
The Koret Foundation adds to the San
Francisco Bay Area’s exuberance by
promoting educational opportunities,
contributing to a diverse cultural
landscape, and bolstering organizations
that are innovative in their approach to
meeting community needs.
At this year’s Chairman’s Council
Dinner, San Francisco Ballet was
pleased to recognize dedicated
patrons Ann and Robert Fisher.
The Fishers are founding members
of the Christensen Society and
former Trustees with a combined
25 years of service on the Board.
Bob served on the Board of Trustees
from 1986 to 1999, while Ann served
on the Board from 1999 to 2011.
A student of ballet and modern dance
in her youth, Ann’s lifelong love for
ballet inspired her to become involved
with SF Ballet and share her joy for
dance with others. Ann joined the
Ballet Auxiliary in 1982 and chaired
the 1983 Fashion Show. An advocate
for audience education, Ann worked
with former Trustee Claude Rosenberg
and editor Janet Grosser to produce
and publish Passport to Ballet: An
Illustrated Audience Primer (1990).
The publication was designed as an
introduction to the language and
positions of classical ballet to build
audience appreciation and enjoyment.
In 2008, Ann co-chaired the Ballet’s
75th Anniversary New Works Festival
Opening Night Dinner.
Bob was introduced to SF Ballet
at a performance in the 1970s
and was immediately taken with
both the art form and the Company.
Ever since, the Fishers have
enjoyed sharing their enthusiasm
for SF Ballet by encouraging friends
to learn about the Ballet and attend
performances. For many years
they have presented SF Ballet gift
certificates to some of their nearest
and dearest during the holidays.
Their children Sydney and Alex
became fans of Nutcracker and now
include grandsons Cyrus and Rowan
Bernier in the annual tradition.
The Fishers’ dedication to the Ballet
extends beyond their commitment
to the Board and Auxiliary through
46 S A N F R A N C I S C O B A L L E T
“The Koret Foundation is proud to
continue its long tradition of supporting
world-class cultural organizations like
San Francisco Ballet, which plays an
integral role in the vitality of cultural
life in the Bay Area. Like San Francisco
Ballet, the Koret Foundation believes
in excellence and we are pleased to
continue our role as an important
partner with this leading Bay Area
institution,” said Koret CEO Jeff Farber.
San Francisco Ballet is deeply
appreciative of the Koret Foundation’s
steadfast commitment and leadership
support of the 2014 Repertory Season,
sponsoring the full-length productions
of Giselle and Cinderella.
ANN AND ROBERT FISHER (© DREW ALITZER)
their sponsorship of ballets. Notes
Ann, “We continue to marvel at the
artistry and renown of San Francisco
Ballet and treasure our continued
association with this stellar company.”
Koret Foundation,
Full Length Ballets Sponsor
The Koret Foundation continues its
commitment to San Francisco Ballet as
the Full Length Ballets Sponsor for the
2014 Repertory Season. For nearly
three decades, the Koret Foundation
has served as a leader in San Francisco’s
philanthropic community, and
San Francisco Ballet has been the
beneficiary of this generosity for more
than 25 years. Like San Francisco
Ballet, the Koret Foundation and the
Koret Family have a long history of
helping to build San Francisco into
the world-class city that it is today.
The James Irvine
Foundation funds
Arts Innovation
In 2011, The James Irvine
Foundation awarded San Francisco
Ballet a three-year $900,000 grant
as part of their Arts Innovation
Fund initiative. The James Irvine
Foundation understands that the
nonprofit arts and cultural sector
is facing major structural changes
brought on by technological
advances, demographic changes
and shifting consumer behaviors.
The Arts Innovation Fund is
designed to enable organizations
to respond to these environmental
changes by seeding innovative
ideas, projects and directions
that will constitute significant
advancements for the organization,
as well as potential leadership
opportunities. The Arts Innovation
Fund focuses on funding innovations
in three priority areas: artistic
capacity, constituency engagement
and organizational management.
music through groundbreaking new
interactive technology.
With support from The James Irvine
Foundation, the Ballet’s Marketing
Department and the Center for Dance
Education (CDE) were able to develop,
build and launch the Nutcracker
Interactive Storybook for iPad.
Designed for children ages 6-10 and
their families, the animated iPad app
allows users to not only experience
SF Ballet’s production of Nutcracker
through original illustrations and
storytelling, but to explore and engage
with the world of classical dance and
Throughout this playful and
educational app, children can hone
their reading skills, while learning
about ballet, dance, music, and more.
“As the company who started this
beloved holiday tradition in America
in 1944, we are thrilled to share our
appreciation of Nutcracker, dance,
and music with the widest possible
audience through this unique app,” said
SF Ballet Education Director Charles
Chip McNeal. “Through the app’s fun
and interactive content, our goal is to
offer a rich educational experience
for children and their families alike.”
The Ballet is grateful for the generosity
of The James Irvine Foundation, which
helped make this possible.
Summer Session
Audition Tour, Supported
by Freed of London
Each summer roughly 300 ballet
students come to San Francisco
to study at the home of one of
the world’s most respected ballet
companies and schools: San
Francisco Ballet. SF Ballet School
offers two challenging programs
for 3-4 weeks for intermediate/preprofessional students.
A National Audition Tour, sponsored
by Freed of London, is held annually
and this year will visit ten cities in
the United States. Admission to
San Francisco Ballet School is by
audition only. Auditions are open
to male and female students,
ages 14-18, who have achieved
intermediate or advanced levels of
ballet training. More than 1,500
ballet students will audition or submit
online audition videos this year.
Freed of London, sponsor of the
National Audition Tour, is the world’s
leading designer and manufacturer
of professional dance shoes. With
an extensive history dating back
to 1929, Freed of London shoes
are handcrafted in the UK and
today the Freed of London portfolio
includes dance apparel, bridal, and
fashion collections.
SF Ballet’s Nutcracker Interactive Storybook for iPad
Now available for download on the App Store for $4.99. This app
is optimized for iOS6 or later and for iPad. To learn more and
see a video preview, visit sfballet.org/Nutcrackerstorybook
APPLE, THE APPLE LOGO, AND IPAD ARE TRADEMARKS OF APPLE, INC., REGISTERED IN THE
U.S. AND OTHER COUNTRIES. APP STORE IS A SERVICE MARK OF APPLE, INC. NUTCRACKER
INTERACTIVE STORYBOOK FOR IPAD ILLUSTRATIONS AND STORY BY K ATE GARCHINSKY.
San Francisco Ballet School looks
forward to welcoming a talented
group of students this summer,
and thanks Freed of London for its
generous support of the Audition
Tour for more than a decade.
2014 SE ASON | PROGR AM 1 | 47
great benefactors
Since its founding in 1933, San Francisco Ballet has grown into one of the world’s leading ballet companies and ballet
schools. This evolution has been made possible through the steadfast and generous support of patrons in the Bay Area and
throughout the world. The Great Benefactors are donors whose cumulative giving to San Francisco Ballet is $1 million or more.
This year we are pleased to acknowledge the estate of Diana Dollar Knowles, Gaia Fund, The Hellman Foundation, Donald
F. Houghton, J.P. Morgan Chase, Pacific Gas & Electric Company, and Arthur and Toni Rembe Rock. We are thankful for their
support of America’s first professional ballet company.
American Airlines
Lucy and Fritz Jewett
Estate of Helen Anderton
Estate of Mildred Johnson
AT&T
Maurice Kanbar
Bank of America Foundation
Dr. and Mrs. Jerome Ormond Kirschbaum
Richard C. Barker
Diana Dollar Knowles
Bingham McCutchen LLP
BRAVO
California Arts Council
The State of California
Estate of Lewis and Emily Callaghan
Mrs. Daniel H. Case III
Chevron Corporation
Deloitte
Suzy Kellems Dominik
Rudolph W. Driscoll
Sonia H. Evers
First Republic Bank
Ford Foundation
Estate of Diana Dollar Knowles
Koret Foundation
Mary Jo and Dick Kovacevich
Catherine Lego
Paul Lego
Mrs. Jeannik Méquet Littlefield
The Marver Family
Andrew W. Mellon Foundation
Nicola Miner and Robert Mailer Anderson
National Endowment for the Arts
The Bernard Osher Foundation
John Osterweis and Barbara Ravizza
Diana Stark and J. Stuart Francis
Pacific Gas and Electric Company
Estate of Georg L. Frierson
Yurie and Carl Pascarella
Gaia Fund
The Thomas J. and Gerd Perkins Foundation
Stephen and Margaret Gill Family Foundation
Pillsbury Winthrop Shaw Pittman LLP
Richard and Rhoda Goldman Fund
Kenneth Rainin
Grants for the Arts
Mr. George R. Roberts
Estate of Richard B. Gump
Arthur and Toni Rembe Rock
Evelyn & Walter Haas, Jr. Fund
Bob Ross
Mimi Haas
Colleen and Robert D. Haas
Walter & Elise Haas Fund
Estate of Katharine Hanrahan
Dr. and Mrs. Jeffrey P. Hays
William Randolph Hearst Foundation
The Hellman Family
The Hellman Foundation
The Herbert Family
William and Flora Hewlett Foundation
The Edward E. Hills Fund
Donald F. Houghton
Estate of Dora Donner Ide
Gordon Russell
San Francisco Ballet Auxiliary
The San Francisco Foundation
Kathleen Scutchfield
Shubert Foundation, Inc.
The Smelick Family
The Swanson Foundation
Richard J. Thalheimer
Ms. Susan A. Van Wagner
Visa Inc.
Phyllis C. Wattis
Wells Fargo
The James Irvine Foundation
The E. L. Wiegand Foundation
JPMorgan Chase
Diane B. Wilsey
G. William Jewell
Akiko Yamazaki and Jerry Yang
George F. Jewett, Jr. 1965 Trust
The Zellerbach Family
48 S A N F R A N C I S C O B A L L E T
artistic director’s council
San Francisco Ballet gratefully acknowledges the members of the Artistic Director’s Council. Their generous annual
support of $100,000 or more has been instrumental to the success of San Francisco Ballet, the San Francisco Ballet School,
and the San Francisco Ballet Center for Dance Education. Members of the Artistic Director’s Council receive customized
benefits including special access to performances, exclusive events, and rehearsals. For more information, please contact
Fermin Nasol, principal gifts officer, at 415.865.6622 or [email protected] .
Grand Benefactors
Gifts of $250,000 and above
The Hellman Foundation
Lucy Jewett
Artistic Director’s Council
Gifts of $100,000–$249,999
Richard C. Barker
Fang and Gary Bridge
Elizabeth and Richard Fullerton
Gaia Fund
Shelby and Frederick Gans
Cecilia and Jim Herbert
Mrs. Jeannik Méquet Littlefield
Mr. and Mrs. John S. Osterweis
Yurie and Carl Pascarella
Arthur and Toni Rembe Rock
Bob Ross Foundation
Mrs. Randee Seiger
Mr. and Mrs. James N. Sullivan
Diane B. Wilsey
new productions fund
As part of San Francisco Ballet’s FY2012-16 Long-Range Plan, Artistic Director & Principal Choreographer
Helgi Tomasson launched a major new artistic initiative in support of the creation and performance of new work.
This project includes repertory pieces as well as several new full-length productions.
The new initiative builds on SF Ballet’s past work in the development and acquisition of new works, with almost 50 commissions
in the last decade alone. It also complements Tomasson’s own
work in creating over 30 repertory works and productions of full-
SF Ballet gratefully acknowledges the generous support of
the sponsors of the New Productions Fund. SF Ballet would
like to thank the Rudolf Nureyev Dance Foundation for its
leadership role in launching the New Productions Fund.
length works for SF Ballet, including Don Quixote, 2003; Giselle,
1999; Nutcracker, 2004; Romeo & Juliet, 1994; The Sleeping
Beauty, 1990; and Swan Lake, 1988 and 2009.
The initial projects in this important effort were the Company
premiere of Alexandra Danilova and George Balanchine’s Coppélia
and world premieres by Choreographer in Residence Yuri Possokhov,
Tomasson, and Christopher Wheeldon in 2011.
The 2012 Repertory Season saw the Company premiere of
John Cranko’s Onegin, the newly designed production of Tomasson
and Possokhov’s Don Quixote, and world premieres by
Lead Sponsor
($1 Million+)
Mrs. Jeannik Méquet Littlefield
Mr. and Mrs. John S. Osterweis
Major Sponsor
($500,000-$999,999)
Rudolf Nureyev Dance Foundation
Larry and Joyce Stupski
Edwaard Liang, Ashley Page, Possokhov, and Wheeldon.
Sponsor
During the 2013 Repertory Season the Company gave the
($250,000 to $499,999)
Richard C. Barker
Christine H. Russell Fund of the Columbia Foundation
Suzy Kellems Dominik
Stephanie Barlage Ejabat
Gaia Fund
The William Randolph Hearst Foundation
Cecilia and Jim Herbert
Diane B. Wilsey
U.S. premiere of Wheeldon’s Cinderella and world premieres
by Wayne McGregor, Possokhov, and Alexei Ratmansky.
This Season, SF Ballet will offer the San Francisco premiere
of Ratmansky’s Shostakovich Trilogy. This evening-length work
is a co-production with American Ballet Theatre. SF Ballet
will also perform world premieres of works by Val Caniparoli,
Liam Scarlett, and Tomasson.
2014 SE ASON | PROGR AM 1 | 49
san francisco ballet
season sponsors
2013 Nutcracker
Lead Sponsors
The Herbert Family
The Swanson Foundation
Sponsors
Yurie and Carl Pascarella
Kathleen Scutchfield
The Smelick Family
2014 Repertory
Season
PROGRAM 1
Giselle
Major Sponsors
Marissa Mayer and Zachary Bogue
Mr. and Mrs. Kurt Mobley
Sponsors
Sonia H. Evers
H. B. and Lucille Horn Foundation
Ms. Laura McCabe-Edgar
Carolyn and Alex Mehran
PROGRAM 2
From Foreign Lands
Sponsor
ENCORE!
Borderlands
Major Sponsor
Mr. James D. Marver
Sponsors
Allegro Circle
Courtney Benoist and Jason M. Fish
Karen S. Bergman
Larissa Roesch and Jason Crethar
Val Caniparoli World Premiere
Sponsor
Cal Anderson
PROGRAM 3
Program Sponsor
The Bernard Osher Foundation
Firebird
Sponsors
PROGRAM 6
Joan E. Roebuck
Maelstrom
Mr. and Mrs. Alan Tai
Sponsors
Teri and Andy Goodman
PROGRAM 4
Cinderella
Lead Sponsors
The Herbert Family
San Francisco Ballet Auxiliary
Diane B. Wilsey
Major Sponsors
Mary Jo and Dick Kovacevich
Marie and Barry Lipman
Marissa Mayer and Zachary Bogue
Richard Thalheimer Family
Kacie and Michael Renc
Helgi Tomasson
World Premiere
Lead Sponsor
Gaia Fund
Mr. and Mrs. John S. Osterweis
The Rite of Spring
Sponsor
Kathleen Grant, M.D. and
Thomas Jackson, M.D.
Miles Archer Woodlief
PROGRAM 7
Program Sponsor
Liam Scarlett World Premiere
American Airlines
Lead Sponsor
PROGRAM 5
Shostakovich Trilogy
New Productions Fund
Lead Sponsors
Mrs. Jeannik Méquet Littlefield
Mr. and Mrs. John S. Osterweis
Major Sponsors
Rudolf Nureyev Dance Foundation
Yurie and Carl Pascarella
PROGRAM 8
Agon
Major Sponsor
Sue and John Diekman
Brahms-Schoenberg Quartet
Sponsor
BRAVO
Larry and Joyce Stupski
Glass Pieces
Sponsors
Major Sponsor
Richard C. Barker
Mr. and Mrs. G. Steven Burrill
Christine H. Russell Fund of
Sponsor
the Columbia Foundation
Suzy Kellems Dominik
Stephanie Barlage Ejabat
Gaia Fund
The William Randolph Hearst
Foundation
Cecilia and Jim Herbert
Diane B. Wilsey
With additional support
provided by Major Sponsors
Richard C. Barker
Elizabeth Pang Fullerton and
Richard Fullerton
John Little and Heather Stallings Little
2014 Full-Length
Ballets Sponsor
Koret Foundation
Saturday Night
Subscription Series
Lucy and Fritz Jewett
Saturday Night Series
2014 Opening Night Gala
Major Sponsor
Shelby and Frederick Gans
Julie and Greg Flynn
Randee and Joseph Seiger
Mrs. Henry I. Prien
Sponsors
Sponsor
Benefactor Dinner Sponsor
Rosemary B. Baker
Katherine and Gregg Crawford
KPMG
David and Vicki Cox
Ghosts©
Patron Dinner Sponsor
Stephen & Margaret Gill
J.P. Morgan
Major Sponsors
Family Foundation
Kelsey and David Lamond
Alison and Michael Mauzé
O.J. and Gary Shansby
Judy C. Swanson
50 S A N F R A N C I S C O B A L L E T
Presenting Sponsor
Osterweis Capital Management
Performance Sponsor
Elizabeth Pang Fullerton and
Richard Fullerton
2014 Opening Night Gala
(continued)
After Party Sponsor
HSBC Private Bank
Grand Benefactor Reception
Sponsor
BVLGARI
Invitation Sponsor
Bob Ross Foundation Touring Fund
Akiko Yamazaki and
Jerry Yang Touring Fund
Underwriters
Davidson Bidwell-Waite and
Edwin A. Waite Fund
Glenn McCoy Touring Fund
Phyllis W. Nelson Touring Fund
Anne and Michelle Shonk Touring Fund
Pacific Union—Christie’s
International Real Estate
Grand Benefactor Dinner
Media Sponsor
Nob Hill Gazette
Performance and After Party
Media Sponsor
7x7
2013-2014 Touring
David H. Koch Theater, Lincoln
Center for the Performing Arts,
New York, NY—October 2013
San Francisco Ballet’s New York
City tour was made possible in
part by Lead Corporate Sponsor
First Republic Bank
Lead Sponsor
Denise Littlefield Sobel
Major Sponsors
Donald F. Houghton
Sandra and James Katzman
Bob Ross Foundation
Randee and Joseph Seiger
Sponsors
Elizabeth Pang Fullerton and
Richard Fullerton
Ms. Susan A. Van Wagner.
The following funds of the
San Francisco Ballet Endowment
Foundation provide permanent
support for touring by
San Francisco Ballet:
Lead Underwriters
Osher Touring Fund
G. William Jewell Touring Fund
The Hellman Family Touring Fund
Major Underwriters
Frannie and Mort Fleishhacker
Touring Fund
Stephen and Margaret Gill Family
Foundation Touring Fund
Teri and Andy Goodman Touring Fund
Pamela J. Joyner and
Alfred J. Giuffrida Touring Fund
San Francisco Ballet’s performances are made possible in part by grants
from Grants for the Arts, The William and Flora Hewlett Foundation,
The James Irvine Foundation, and the National Endowment for the Arts.
William Hill Estate Winery® and La Marca Prosecco ® are the featured wine
and sparkling wine of San Francisco Ballet.
Yamaha Pianos are the performance and rehearsal pianos of San Francisco Ballet
and the School, and are provided by Piedmont Piano Company.
Preferred Airline of San Francisco Ballet
Nutcracker Media Sponsor
KGO-TV
2014 Season Media Sponsors
Bay Area Rapid Transit, KCBS
Giselle Media Sponsor
KQED
Cinderella Media Sponsor
KPIX
Nite Out Media Sponsor
Bay Area Reporter
Fashion Show Media Sponsor
San Francisco magazine
2014 SE ASON | PROGR AM 1 | 51
the chairman’s council
San Francisco Ballet gratefully acknowledges the members of its Chairman’s Council, comprised of those generous
members of the Christensen Society who have donated $15,000 or more to our annual fund as of December 17, 2013.
Members of the Chairman’s Council receive benefits tailored to their individual interests, such as the opportunity to
sponsor a ballet or enjoy an exclusive viewing of a ballet rehearsal. If you would like more information about Chairman’s
Council benefits, please contact Pamela Sullivan, major gifts officer, at [email protected] or 415.865.6634.
We are pleased to give special
Mr. and Mrs. Robert M. Smelick
CHAIRMAN’S COUNCIL
Mr. and Mrs. James J. Messemer
recognition to donors who
Karen and William Sonneborn
Gifts of $15,000-$24,999
Mary Mewha
have been honored as ten-year
Judy C. Swanson
Anonymous (3)
Mrs. Stuart G. Moldaw
Cal Anderson
Mrs. Jane S. Mudge
members of the Christensen
Society. Their names appear
in italics in this section.
Former Trustees and Associate
Trustees of San Francisco Ballet
are noted with an asterisk.
Mr. and Mrs. William Truscott
Jennifer and Steven Walske
Mr.* and Mrs. Paul L. Wattis III
Miles Archer Woodlief
SPONSOR’S COUNCIL
Gifts of $25,000-$49,999
PRESENTER’S COUNCIL
Anonymous (2)
Gifts of $50,000-$99,999
John and Gioia Arrillaga
Rosemary B. Baker
Courtney Benoist and
Karen S. Bergman
Jason M. Fish
Grady and Amy Burnett
Mr. and Mrs. G. Steven Burrill
The Dan and Stacey* Case
Family Foundation
Athena and Timothy Blackburn
Katherine and Gregg Crawford
Liv and Christopher Cann
Jacqueline and
David and Vicki Cox
Timothy Dattels and
Kristine Johnson
Christian P. Erdman
Sonia H. Evers
Mr.* and Mrs.* Robert S. Fisher
Sue and John Diekman
Elizabeth and Robert Fisher
Mrs. Suzy Kellems Dominik
Teri and Andy Goodman
Kate and Bill Duhamel
Kathleen Grant, M.D. and
Julie and Greg Flynn
Diana Stark and
J. Stuart Francis
Thomas Jackson, M.D.
Beth and Brian Grossman
Hank J. Holland*
Margaret and Stephen Gill
Thomas E. Horn
Alicia and Philip Hammarskjold
Christine and Pierre Lamond
Libby* and Craig Heimark
John Little and
Donald F. Houghton
Heather Stallings Little
Mr. and Mrs. James C. Katzman
Ms. Laura McCabe-Edgar
Mary Jo and Dick Kovacevich
Carolyn and Alex Mehran *
Nancy A. Kukacka
Kacie and Michael Renc
David and Kelsey Lamond
Mr. George R. Roberts
Irv H. Lichtenwald and
Joan E. Roebuck
Stephen R. Ripple
Marie and Barry Lipman
Mr. James D. Marver
Alison and Michael Mauzé
Marissa Mayer and
Zachary Bogue
Larissa Roesch and
Jason Crethar
Mr. Gordon Russell and
Dr. Bettina McAdoo
Joyce Stupski
Mr. and Mrs. Alan Tai
Brenton and Lysbeth Warren
Anderson
Kristen A. Avansino
Rachel Brass and
Richard Foster
Ron and Susan Briggs
Ms. Eliza M. Brown
Mr. John G. Capo
Paula and Bandel Carano
Dr. Carolyn Chang and
Mr. Patrick King
Drs. Valerie and Devron Char
Ms. Karen K. Christensen
Mr. and Mrs. Kent Colwell
Jordan Deschamps-Braly, M.D.
and Maya Alexandrova
Paula M. Elmore*
Dana and Robert Emery
Carol Emory and The Wingate
Foundation
Mrs. Mortimer Fleishhacker
Delanie and Peter Read
Dave and Judy Redo
Glenn H. Reid and
Frank S. Lanier
Mr. and Mrs. Edward Roach
Michael and Mary Schuh
Christine Sherry and
Lawson Fisher
The Honorable and
Mrs. George P. Shultz
Mr. and Mrs. Mark Slavonia
Mr. David H. Spencer
Mr. Randall N. Spratt
Michael and Susanna Steinberg
Tom Steyer and Kat Taylor
Roselyne C. Swig*
Mr. and Mrs. William R. Timken
Mr. and Mrs. Thomas Tuttle
Nicholas and Mary Graves
Tricia Weaver Moss* and
James C. Gries
Mimi Haas
Charles Moss
Kathryn K. and Kenneth B.
Brian and Rene Hollins
Weeman, Jr.
James C. Hormel and
Ms. Patricia Wyrod
Michael P. Nguyen
Ms. Jeri Lynn Johnson
William and Gretchen Kimball
Fund
Kevin King and Meridee Moore
Susan B. Levine and
James W. Lauer
Christa and Mark Lopez
Patrice and Walther Lovato
Peter and Melanie Maier
Ms. Susan Marsch
Timothy Marten, M.D.
Mr. and Mrs. Kurt Mobley
Ms. Susan A. Van Wagner
Jane and Roger McCarthy
Mrs. Henry I. Prien
Dr. Janice and
Stewart McDowell Brady
52 S A N F R A N C I S C O B A L L E T
Alex L. Raitz
Erin Glenn
Mr. Richard J. Thalheimer
Mr. Jonathan Zakin
Carmela C. Anderson-Ortgies
Leslie and Nick Podell
Tim Garry and Amanda Link
Mr. James Milligan
O.J. and Gary Shansby
Roland G. Ortgies and
Mr. and Mrs. Gregg Mattner
and Philip Brady
Mr. Fred Yick
Diane and Howard Zack
Kenneth and Anna Zankel
the christensen society
San Francisco Ballet gratefully acknowledges the generous support of the members of the Christensen Society who
have made contributions through December 17, 2013. Named for American dance pioneers Harold, Willam, and Lew
Christensen, three brothers who were instrumental in the founding and development of San Francisco Ballet, the
Christensen Society honors annual fund gifts of $2,500 to $14,999, excluding special event contributions. This group
of donors helps San Francisco Ballet maintain its artistic excellence. Their consistent and longstanding generosity has
contributed significantly to the ongoing financial stability of San Francisco Ballet, without which our artistic successes
would not be possible. For more information about the Christensen Society please contact Sarah Malashock, Christensen
Society and membership manager, at [email protected] or 415.865.6624.
We are pleased to give
special recognition to donors
who have been honored as
ten-year members of the
Christensen Society. Their
names appear in italics in this
section. Former Trustees and
Associate Trustees of the Ballet
are noted with an asterisk.
Ann M. Griffiths
Mr. Brian Gustafson
Mr. Lloyd N. Harper
Mr. and Mrs. David M. Haskin
Mr. and Mrs. A. Grant
Heidrich III
Robert G. Hulteng
George and Beverly James
Dorothy and Bradford Jeffries
Guyton Jinkerson
CHOREOGRAPHER’S
COUNCIL
Gifts of $7,500-$14,999
Anonymous (2)
Deborah K. Alton-Matthews
Dr. Margaret Bates and
Scott Johnson
Joseph Bernstein, M.D.
Ms. Susan Blake
Claire and Jared Bobrow
Bruce Braden
Kelly and Samuel* Bronfman II
Jon B. Chaney
Jane A. Cook
Ms. Phoebe Cowles
Mr. Thomas L. Davis and
Mrs. Marden N.Plant
Juanita and Manuel Del Arroz
Earl Diskin
Ms. Paulette Doudell
Robert and Judith Duffy
Mr. and Mrs. Peter E. Engel
Douglas and Barbara* Engmann
Lynn Feintech and
Tony Bernhardt
Mr. and Mrs. John L. Field
Doris Fisher
Camille and Sean Flynn
Dr. Kim Fullerton-Nelson
Drs. Richard D. and
Patricia Gibbs
John and Marcia Goldman
Nonie H. Greene and
Todd Werby
Mr. and Mrs. Christopher P. Johns
Jake and Sandra Coulter
John G. Kerns*
Ms. Micki Klearman
Ms. Wanda Kownacki
Arlene and Steve Krieger
Captain Witold Klimenko and
Dr. Darlene Lanka-Klimenko
Mark and Debra Leslie
Carol and Hal Louchheim
Sean Madnani and
Sarah Holland
Mrs. Rhondalee Mahendroo
Lori and David F. Marquardt
Dr. Jack McElroy and
Dr. Mary Ann Skidmore
Nion T. McEvoy
Joan and Robert McGrath
Ms. Maya Meux
Byron R. Meyer*
Marta L. Morando
Michael Moritz and
Harriet Heyman
Manfred K. Mundelius
Mr. and Mrs.* Adam Murphy
Ms. Susan Anderson-Norby
Mr. Richard Oppenheimer
Mr. James Parsons and
Ms. Andrea Hong
Greta R. Pofcher
Paula and Bill Powar
Mr. Fritz Quattlebaum
Julian Robertson
Mr. and Mrs. Sanford R.
Robertson
Kamran and Helena
Shamsavari
Mr. and Mrs. Roderick W. Shepard
Ms. Anne C. Shonk
Mr. and Mrs. Sol Coffino
Ms. Claudia Coleman
Dr. Charles Connor
Ms. Phyllis Cook
Michele Beigel Corash and
Laurence Corash
Peggy Skornia
Robert and Laura Cory
Ms. Cherida Collins Smith
Mrs. Mary A. Culp
The Streets Family
Mr. and Mrs. Charles V. Thornton
Helgi and Marlene Tomasson
Mr. and Mrs. Frank J. Espina
Drs. Oldrich and Silva Vasicek
Mr. and Mrs. David Viniar
The Watkins Family
Cynthia and Edgar Whipple
Travis and Jim Wright
Ms. Rhonda Zygocki
DANCER’S COUNCIL
Gifts of $5,000 - $7,499
Anonymous (3)
Mr. and Mrs. David Anderson
Ms. Gigi Anthony
Mr. and Mrs. Greer Arthur
Eleonore and Edward Aslanian
Mr. and Mrs. Joachim Bechtle*
Mr. Christopher Bently
Lydia and Steven Bergman
Davidson Bidwell-Waite and
Edwin A. Waite
Mr. Charles Alden Black Jr. and
Mr. C. Grisham Jr.
Ms. Martha Blackwell
Mr. Lawrence Booth
Dr. Odelia Braun
Mr. and Mrs. James A. Davidson
Mr. and Mrs. Kevan del Grande
Marvin Dennis
Mr. and Mrs. Christopher B. Dolan
Mr. and Mrs. David Dossetter
Ms. Samantha DuVall
Mrs. Delia F. Ehrlich
Tawna and John Farmer
Mr. and Mrs. Irwin Federman
Brent and Sandra Fery
Howard and Carol Fine
Ms. Katherine M. Fines and
Mr. Henry Heines
Mr. and Mrs. David Fleishhacker
Mr. Dennis N. Fluet
Marilyn & Robert Funarl
Family Foundation
Ms. Sally Garbarino
Ms. Eileen M. Gardiner
The Robert J. and Helen H.
Glaser Family Foundation
Mr. Matthew W. Goldman
Mr. and Mrs. John and Lucie Hall
Clarence W. Harrison
Mary Lou Ambinder Heine
Mr. and Mrs. Terry Houlihan
Jackson Family
Cynthia and Fred Brinkmann
Mr. Ben Jurcheson
Ms. Barbara Brown
Ms. Lisa A. Keith
Ms. Karen Bruehl
Bonnie N. and George L. Kennedy
Peggy and Donald Burns
Mr. and Mrs. Robert J. Klett
Ms. Annag Rose Chandler and
Mr. and Mrs. Mark S. Koenig
Mr. Victor Vitlin
Ms. Linda Kurtz
Antoinette Chatton
Mr. David Laudon and Mr.
Robert Clegg*
Randall Laroche
Jack and Gloria Clumeck
Mrs. Mona Lessing-Harroch
2014 SE ASON | PROGR AM 1 | 53
Mark S. Litwin and
Lorraine Lusted
Dr. and Mrs. Herschel Loomis, Jr.
Mr. and Mrs. James J. Ludwig
Mr. and Mrs. Jim Swartz
Arthur and Roslyn Bienenstock
Mr. Richard T. Daly
Mrs. Bente Tellefsen
Mrs. Jan Birenbaum
Juliet and Roggie Dankmeyer
Mr. and Mrs. Richard L.
RADM and Mrs. John W. Bitoff
Ms. Susan J. Davenport
Patricia R. Lurie
Nordin and Donna Blacker
Dr. and Mrs. R.L. Davis
Mr. and Mrs. William L. Thornton
Amos and Carla Blackmon
Ms. Bonnie De Clark
Mr. Harry Tierney
Ms. Phyllis Blair
Ms. Joan Dea
Mr. and Mrs. Edward Tortorici
Mr. Noel T. Blos
Dr. Richard M. Delfs
Janet Sassoon-Upton and
Mr. and Mrs.* Richard A. Bocci
Julie Desloge and
Laurence and Cheryl Lyons
Mr. Michael Manning
Mr. and Mrs. L.W. Thomas May
Dr. and Mrs. W. D. McCallum
Mr. and Mrs. George McCown
Dan E. McDaniel, M.D.
Mr. and Mrs. John A. McQuown
Mr. Wallace Mersereau
Fred and Carole Middleton
Nancy and Larry Mohr
Ms. Alexandra Moses
Mr. Milton J. Mosk and
Mr. Thomas Foutch
Robert* and Berit Muh
Tom and Anne Muller
Diana Nichols
Miriam Sedman and
Ralph Nyffenegger
Ms. Carla Oakley
Mr. Kevin Osinski and
Mr. Marc Sinykin
Mrs. Alexandra Ottesen
Ms. Mindy Owen
Melanie and Rob Pedrick
Anne Marie Peterson in Honor
of Nancy A. Kukacka
Thompson
John R. Upton, Jr.
Dr. Conrad Vial
Paul A. Violich
Dr. and Mrs. Jon Wack
The Whitman Family
Foundation
Benjamin and Mary Ann Whitten
Karen and Stephen Wiel
Melanie and Ronald Wilensky
Mr. Robert Williams
Mr. Craig Wilson
Mr. Timothy C. Wu
Miss Carla J. Wytmar
Sharon and Robert Yoerg
Mr. Timothy H. Young
Dr. and Mrs. Burton A. Zabin
ASSOCIATE’S COUNCIL
Gifts of $2,500-$4,999
Anonymous (4)
Ms. Diane K. Aaron
Michael C. Abramson
Tanya Marietta Powell
Mr. Amir Adibi
Mr.* and Mrs. John F. Powers
Ms. Kirsti Aho and Mr. Dale
Ms. Sandra Price
Louis Ptacek and Ying-Hui Fu
Mr. Gordon L. Radley
Underwood
Mr. Bruce Albert and
Dr. Chady F. Wonson
Mrs. Albert G. Raisch
Mr. Joseph W. Alegre
Maja Kristin
Jola and John M. Anderson
Drs. Garry and Kathy Rayant
Dr. and Mrs. Joseph S. Andresen
Dr. and Mrs. Robert E.
Mr. Hiroki Asai
Richardson
Ms. Corine Assouline
Rigg Family
David M. Atcheson*
Ms. Marianne B. Robison
Ms. Nancy R. Axelrod
Mr. and Mrs. David E.
Mr. and Mrs. Bartley B. Baer
Rosenkrantz
Dr. Chris Bajorek
Dr. and Mrs. Frederic W. Bost
George A. Newhall
Ms. Candis A. Bourdet
Mr. William K. Dick
Dr. Thomas and Janice Boyce
Ms. Jennifer DiNapoli
Ms. Carolyn J. and
Ms. Patricia Dobashi
Mr. David W. Brady
Mr. and Mrs. William
Brandenburg
Michael E. Dreyer and
Harry B. Ugol
Roger du Plessis
Mr. Robert Brandt
Anita C. Eblë
Mr. and Mrs. Marvin Brenner
Michelle and Zane Edwards
Mr. and Mrs. Kent F. Brooks
Diane and Joseph Ehrman III
Catherine Brown and
Stephanie Barlage Ejabat
Gerald Gwathney
Mr. and Mrs. Wim Elfrink
Edward and Carole Brown
Mr. and Mrs. Robert Elkins
Mr. and Mrs. James R. Brown
Mrs. Melissa Elmiligy
Josephine Brownback
Evans Fund
Betty C. Bullock and
Rev. Richard Fabian
Robert Murray
Ms. Giselle P. Farris
Mr. and Mrs. Thomas H.
Burkhart
Mrs. Erin Farshchi
Mr. and Mrs. Elliott Felson
Julie and David Burns
Mr. Patrick Finn
Dr. and Mrs. George Byrne
Mr. William E. Fisher
The Barbara and John Callander
Ms. Linda Jo Fitz
Family Fund
Mr. Jose G. Flores
Dr. Paula Campbell
Russell and Lee Flynn
Dr. and Mrs. Ronald E. Cape
Mr. Thomas W. Flynn
John and Carol Carlson
Ms. Jean Foss
Ms. Linda Carson
Dr. and Mrs. A. W. Fricke
Mark and Carrie Casey
Mr. and Mrs. Donald Friend
Dr. and Mrs. George Cassady
Penny and Gregory Gallo
Dr. and Mrs. David Joseph
Nora L. Gibson and
Martin
Charles R. Castellano and
Deryl Castellano
William L. Hudson
Ms. Joy Gim
Sandra and Yuen Gin
Karin and David Chamberlain
Nora Goldschlager
Ms. Stacy Chiang
James K. and Helen L.
Ms. Diana Chulick
Susan and Mitchell Cohen
Goodwine
Drs. Meryl Gordon and
Mr. and Mrs. Mark J. Ryan
Dr. Thomas and Julie Ballard
Mr. Michael Scagliotti
Mr. Stephen A. Bansak III
Peter and Linda Schwarz
Mr. Charles Barrett
Mr. and Mrs. Thomas J. Cooney
Mr. James Gosling
Kathleen Scutchfield
Ms. Jeanne C. Barulich
Alice M. Corning
Phyllis and Gene Gottfried
Mr. and Mrs. Roderick W.
Susan Bates
Mr. George H. Corona
Mr. Reeve Gould
Marie-José and Kent Baum
Joan and Victor Corsiglia
Richard L. Grant and
Dr. and Mrs. Stephen Sherwin
Mr. and Mrs. David W. Beach
Mr. Ralph P. Countryman
Ms. H. Marcia Smolens
Mr. and Mrs. Edward Beck
Ms. Sandi Covell
Ms. Joan Green
Mr. and Mrs. Mathew Spolin
Mr. and Mrs. Gene Becker
Ron and Shahla Cowan
Judy and Josh Green
Ms. Desa C. Belyea
Mary B. Cranston
Mr. and Mrs. William G. Green
Ms. Helen Berggruen
Suzanne and Bruce Crocker
Mrs. Robert M. Greenhood
Ms. Sandra Moore Berrey
Ms. Nancy Curtiss
Ms. Doris Grimley
Shepard
Mr. Ray S. Stewart and
Ms. Norma Pappas
Ms. Fran A. Streets
54 S A N F R A N C I S C O B A L L E T
Richard and Sylvia Condon
Robert Schermer
James L. Miller
Mr. and Mrs. Patrick Groah
Sydene & Frederick Kober
Mrs. Janet Morris
Mrs. S. D. Schwabacher
Mr. and Mrs. David Grove
Mr. Peter Kocks and
Ms. Christine Motley
Ms. Teresa Serata
Kathleen Much and
Mr. and Mrs. Gary J. Shapiro
Claude and Nina Gruen
Mrs. Kate Webster Kocks
Stanley Peters
Mark Grundman & Elaine Deane
Hal and Iris Korol
Stephen and Diana Halprin
Mr. Jordan Kramer
Peter Johnson Musto
Mr. and Mrs. William R.
Ms. Angella Kriens
Mr. and Mrs. David A. Negrin
Ms. Gladys Kwong
Dr. Alex Nellas
Sharon Lambert and
Drs. Andrew and Lynn Newman
Charles Cohen
Mr. and Mrs. Robert L. Newman
Hambrecht
Mr. and Mrs. Robert C. Hamer III
Ms. Mary Herman
Mr. and Mrs. Mark Kostic
Ms. Patricia Lamond
Ms. Allison Nielsen
Alexander and Catherine
Mr. and Mrs. Jude Laspa
Dr. Patricia Noel
Capegio Properties
Paul and Sandy Otellini
Sara and Catherine Harkins
Mr. and Mrs. Alexander Leff
Ms. Catherina Paolino
Ms. Anette Harris and
Ms. Patricia W. Leicher
Mr. William D. Parent
Patricia Lekas and John Wentz
Mrs. Ann Partridge
Mr. and Mrs. Edward M.
Mr. Deric Patrick
Hargrave
Mr. Marc Loupe
Mr. Christoph Hartmann
Mr. Birt Harvey
Leonard
Ms. Barbara Peterson
Maya Hattangady
Mr. and Mrs. Mark R. Lepper
The Phillips Family
Michael and Julie Hawkins
Mr. Roy Levin
Dr. John W. Pierce
Ms. Carleen Hawn
Pam Lewis
Ms. Patricia S. Port
Mr. and Mrs. Ronald Heckmann
Claire and Herbert Lindenberger
Melissa and Ritchie Post
John F. Heil
Ms. Nancy R. Locke
Ms. Danielle Power
Miranda Heller and
Carol and Bill Lokke
Mr. John Pringle
Mark Salkind
John and Kate Lord
Ms. Ruth H. Quigley
Helts Foundation
Mr. and Mrs. Steve Love
Jennifer Rainin
Ms. Kristine T. Hernandez and
Dr. and Mrs. G. Karl Ludwig, Jr.
Ms. Ursula Ralph
Mr. and Mrs. Allen Luniewski
Barbara Rambo* and
Mr. Michael R. Glaser
Mr. and Mrs. Roane T. Sias
Mrs. Harriet J. Simpson
Marietta and Earl Singer
Kae Skeels
Dr. Dale Skeen
Mr. and Mrs. Kenneth Sletten
Mr. and Mrs. Jeff Sloan
Mr. Bruce Smith
Mr. Scott C. Sollers
Mary Ann Somerville
Ms. Ellice Sperber
Ruth and Alan Stein
Susanne Stevens
Mrs. Dwight V. Strong
Joseph J. Sturkey
Maureen and Craig Sullivan
Darian and Rick Swig
Mr. William E. Tabb, Jr.
Mr. and Mrs. Joseph Tan
Ms. Nadine Tang
Mr. James Teter
Dr. Lowell D. Tong and
Mr. Alasdair P. Neale
Ms. Christine Z. Tooby
Ms. Christine Herron
Mr. and Mrs. Robert W. Maier
Mr. and Mrs. William Hersey
Mr. Christopher Marcoux
Reach-A-Star Foundation
Ms. Amanda Topper
Sharon and Dale Hilpert
Ellen M. Martin and
Judge and Mrs. Charles B.
Suzanne M. Tucker and
Mr. and Mrs. John S. Hoch
Philip L. Schaadt
Thomas A. Goossens
Renfrew
Timothy F. Marks
Sunny Holland and Alan Pryor
Ms. Connie V. Martinez
Ann S. and Jon Q. Reynolds
Ms. Carol Ann Holley
Ms. Adrian Walker
Ms. Mary E. Massee
Thomas C. Rindfleisch and
Eugene and Nancy Hughes
Holly and Stephen Massey
Ms. Kay Wangelin
Ms. Kimberly M. Hughes
Mr. and Mrs. Joseph Maurer
L.L. Roberts and A.R. Wilbanks
Ms. Marie Hurabiell Trader
Niko and Steven Mayer
Ms. Carole J Robinson
Mr. and Mrs. Ronald W. Hutton
Mr. Patrick McCabe
Mr. N. D’Arcy Roche and Ms.
Ms. Karen J. Irvin
Jennifer J. McCall
Ms. Giovanna Jackson
Mr. Glenn McCoy
Ms. Jeanne Rose
Ms. Andrea Jacoby
Ms. Kathleen McEligot
Tom Rose and Suzanne Knott
Mr. Dennis Jaffe
Ms. Ruth McGlashan
Ms. Patricia Rosenberg
Evelyn and Robert B. Jaffe, M.D.
Lynn McGowin
Mr. and Mrs. Herbert Rosenthal
Dr. Henry Jones III and
Ms. Mim McNulty
Ms. Susan Rosin and
Margaret D. Turnbull
Lisa and Jason McPhate
A. Carlisle Scott
Stephanie Twomey Roche
Mr. Brian Bock
Debra and Blake Jorgensen
Dr. and Mrs. Bruce Mebine
Mr. Paul L. Rowe
Mr. David Kadarauch
Mr. David E. Meders
Paul Sack and Shirley Davis
Ms. Roberta Kameda
Dr. Beryl Mell
Dr. Ellen Salwen
Bruce and Dasa Katz,
Mr. Steve Merlo
Louise Adler Sampson
Mr. and Mrs. Lou Meylan
Ms. Jennifer Sandell
Mr. and Mrs. Jim Kautz
Mr. Hank Miller
Ms. Ellen Sandler
Mr. David B. Kensington
Ms. Laura Miller and
Donald and Terry Sarver
Katz Family Foundation
Drs. Douglas and Carol Kerr
Ms. Jennifer H. Kilpatrick
Mrs. Jerome Ormond
Kirschbaum
Mr. Matthew Herold
Richard Miller and John Vinton
Mrs. Toni R. Miller
Dorothy Saxe
Gwendy and Anthony
Scampavia
Ms. Susan Warble
Emily and Bob Warden
Ms. Rosalie Weaver
Eitan Fenson and
Barbara Weinstein
Mr. and Mrs. Otto Weiss
Daniel and Marie Welch
Mr. and Mrs. Wallace Wertsch
David and Karima Wilner
Mr. and Mrs. Terry Winograd
Ms. Muriel Wolverton
Mr. Steve Wong
Celeste and Darryl Woo
Sharon* and Dr. Russell Woo
Beatrice Wood
Laureen Woodruff
Mr. and Mrs. Ronald C. Wornick
Dennis Wu
Dr. Keith R. Yamamoto
Mr. Jeffery Yarne and
Ms. Elizabeth Price
Ms. Margaret Mitchell
Kathleen Schiebold
Ms. Beverly P. Kivel
Mr. Ted E. Mitchell
Mr. Norman Schlossberg
Mr. Sunny Yee
Mr. and Mrs. Alan F. Klein
Susan and Jack Molinari
Ms. Deborah Schultz
Mrs. Richard E. Zimmerman
Ms. Patricia D. Knight
Mr. and Mrs. Ken Moonie
Mr. and Mrs. Andrew Schwab
Mrs. Mary Zlot
2014 SE ASON | PROGR AM 1 | 55
corporate and foundation support
of san francisco ballet
Institutional gifts provide valuable support to SF Ballet’s artistic, touring, education, and outreach activities. Corporate and foundation
grants of all sizes, in-kind gifts, and matching gifts enable the Ballet to train and perform at the highest standard of artistry.
Corporate partnership with San Francisco Ballet delivers a wealth of valuable benefits such as public recognition as a supporter, hospitality
opportunities for clients and executives, and discounts on tickets for employees. To learn more, please contact Amy Crowson, corporate
giving officer, at [email protected] or 415.865.6616. Foundation giving to San Francisco Ballet is an investment in the
cultural life of the Bay Area. To learn more, contact Jill Lounibos, grants officer, at [email protected] or 415.865.6626.
Corporate Council
Saks Fifth Avenue
ASSOCIATE’S COUNCIL
The Shubert Foundation, Inc.
ARTISTIC DIRECTOR’S
San Francisco Dancewear
Gifts of $2,500–$4,999
Wallis Foundation
In-Kind Gifts
Allegra Entertainment
The Walske Charitable
ARTISTIC DIRECTOR’S
Crystal Geyser and CG Roxane
COUNCIL
Gifts of $100,000–$249,999
First Republic Bank
Osterweis Capital Management
PRESENTER’S COUNCIL
Gifts of $50,000–$99,999
Chevron
JPMorgan Chase
KPMG
Pacific Gas and Electric Company
COUNCIL
Gifts of $100,000–$249,999
ABC7 | KGO-TV
Bay Area Rapid Transit
KCBS Radio
La Marca Prosecco ®
Abbot Downing
McCall Associates
Bank of America
Pillsbury Winthrop Shaw
HSBC Private Bank
Nespresso USA
PRADA
Verdura
William Hill Estate Winery
CHAIRMAN’S COUNCIL
PRESENTER’S COUNCIL
Gifts of $15,000–$24,999
BVLGARI
Pacific Union–Christie’s
International Real Estate
®
Gifts of $50,000–$99,999
Gifts of $25,000–$49,999
Gifts of $10,000–$14,999
Deloitte
Bay Area Reporter
The William and Flora Hewlett
Foundation
Thanda Private Game Reserve
Koret Foundation
Mechanics Bank Wealth
Gifts of $15,000–$24,999
DANCER’S COUNCIL
Foundation
George F. Jewett Foundation
CHAIRMAN’S COUNCIL
Management
The William Randolph Hearst
Blueprint Studios
Gap Foundation
Miette
Nob Hill Gazette
Rudolf Nureyev Dance
Foundation
The Bernard Osher Foundation
The Rock Foundation
Bob Ross Foundation
Gifts of $5,000–$9,999
CHOREOGRAPHER’S
Bingham McCutchen LLP
COUNCIL
PRESENTER’S COUNCIL
BlackRock
Gifts of $10,000–$14,999
Gifts of $50,000–$99,999
Patina Catering
Delta Dental of California
Edward Baker Foundation
Piedmont Piano Company
Dodge & Cox
Chapin Foundation
Sutter Securities Incorporated
Cox Family Foundation
DANCER’S COUNCIL
Stephen and Margaret Gill
Brunello Cucinelli, USA
Men’s Wearhouse
CHAIRMAN’S COUNCIL
Gifts of $15,000–$24,999
The Cockayne Fund Inc.
Roberts Foundation
CHOREOGRAPHER’S
COUNCIL
Guzik Foundation
COUNCIL
Gaia Fund
Willis
Charity Foundation
Jonathan N. Zakin Foundation
ARTISTIC DIRECTOR’S
Ideas Event Décor & Production
SPONSOR’S COUNCIL
Charitable Foundation
Gifts of $10,000–$14,999
Gifts of $100,000–$249,999
San Francisco magazine
The Caldwell-Fisher
Charles H. Leach, II Foundation
7x7
Wells Fargo
CHOREOGRAPHER’S COUNCIL
The Hellman Foundation
The James Irvine Foundation
Scene Magazine
Arrillaga Foundation
The William G. Irwin
Grants for the Arts
Transportation Agency
Gifts of $25,000–$49,999
Soiree Valet
Gifts of $250,000 and above
San Francisco Municipal
SPONSOR’S COUNCIL
The Flora Family Foundation
GRAND BENEFACTOR
Pittman LLP
Foundation
Shelby Designs
Foundation and
Government
Support
KPIX
KQED TV
Meadowood Napa Valley
Red Bull North America, Inc.
Bay Area News Group
Gifts of $25,000–$49,999
Immersive
mirmir photo™
American Airlines
SPONSOR’S COUNCIL
Freed of London
Charles Krug Winery
Family Foundation
Crankstart Foundation
Mimi and Peter Haas Fund
Walter & Elise Haas Fund
The Kimball Foundation
The San Francisco Foundation
Zellerbach Family Foundation
DANCER’S COUNCIL
Gifts of $5,000–$9,999
RBSL Bergman Foundation
Mervyn L. Brenner
Foundation, Inc.
Fleishhacker Foundation
Marilyn & Robert Funari
Family Foundation
Robert J. and Helen H. Glaser
Family Foundation
Lisa and Douglas Goldman Fund
Walter S. Johnson Foundation
The Laney Thornton Foundation
The Vasicek Foundation
ASSOCIATE’S COUNCIL
ASSOCIATE’S COUNCIL
Gifts of $5,000–$9,999
Gifts of $2,500–$4,999
Invisible Chef and Girard Winery
National Endowment for the Arts
Lakeside Foundation
DeWitt Stern
Louis Vuitton Cup
The Seiger Family Foundation
Springcreek Foundation
56 S A N F R A N C I S C O B A L L E T
Gifts of $2,500–$4,999
san francisco ballet
endowment foundation
Income from the assets of the San Francisco Ballet Endowment Foundation is an important revenue source for San Francisco Ballet.
In FY2014, it will provide funding for approximately 10% of the Ballet’s operating expenses.
All donors who make gifts totaling $25,000 or more to the endowment have a fund created in their name. Named funds can provide
general support or support designated for specific uses at SF Ballet, the San Francisco Ballet School, and the San Francisco Ballet
Center for Dance Education.
SF Ballet is honored to list the following named funds that contribute general support. Those highlighted with an asterisk (*) were fully
or primarily funded through estates gifts. If you would like more information about creating a named fund, please contact Thomas W. Flynn,
director of development, at [email protected] or 415.865.6615.
Endowed Funds for
General Support
Anonymous (6)
Michael C. Abramson Fund
Lois and David Anderson Fund
Mr. and Mrs. Walter M. Baird
Fund*
Rosemary and Edward D. Baker III
Foundation Fund
Richard C. Barker Fund
William Bason Fund*
Nancy and Joachim Bechtle Fund
Wendy and W. Richard Bingham
Fund
Deborah and Richard A. Bocci
Fund
Ron and Susan Briggs Fund
Eva Benson Buck Charitable
Trusts Fund
Edith Bundy Fund*
Peter Byram Fund*
Jennifer Caldwell and
John H.N. Fisher Fund
Ann and Robert Fisher Fund
Heinrich J. Killian Fund*
Doris and Donald Fisher Fund
The Diana Dollar Knowles Fund*
Elizabeth and Robert Fisher Fund
Mr. and Mrs. Gorham B. Knowles
Kirby Ward Fitzpatrick Fund*
Michael Smuin Memorial Fund
Diana Stark and J. Stuart Francis
Fund*
Mary Jo and Dick Kovacevich
Family Foundation Fund
Marjorie K. Sawyer Fund*
Franca Schilt Fund*
Kathleen Scutchfield Fund
O.J. and J. Gary Shansby Fund
Richard LeBlond Fund*
Susan B. Levine and James W.
Dr. Lawrence Loy Shrader and
Frances and Theodore Geballe
Fund
Lauer Fund
Margaret Stuart Graupner Fund*
The Debra Leylegian Adagio Fund
Eugene H. and Stephanie Gray
George W. Lord Fund*
Fund*
James Gries Fund
Carol Lovell Fund, in memory
of Kenneth Hynes*
Richard B. Gump Fund*
Daniel E. Malkin Fund*
Miriam and Peter Haas Fund
The Marver Family Fund
Evelyn and Walter Haas, Jr. Fund
Alison and Michael L. Mauzé Fund
Mimi Haas Fund
Russell J. Mays Fund*
Walter & Elise Haas Fund
Alexander Mehran Fund
Sally and William Hambrecht
Julia O. Merriman Fund*
Fund
Philip and Alicia Hammarskjold
Fund
C. Kenneth and Maureen M. More
Fund*
Milton J. Mosk and
Thomas Foutch Fund
Christina E. Carroll Fund
The Lloyd Harper Patron Fund
Margaret Carver Fund*
Dr. and Mrs. Jeffrey P. Hays Fund
Dan and Stacey Case Fund
The Hellman Family Fund
Phyllis Nelson Fund
Angelina and Christopher
Rosalie G. Hellman Fund
Melvin Novikoff Trust Fund*
Cecilia and James Herbert Fund
John Osterweis Fund
David and Vicki Cox Fund
Richard S. Hirsch Fund*
John Osterweis and Barbara
Timothy Dattels Fund
Hank J. Holland Fund
Ravizza Fund
Susan and John Diekman Fund
Brian and Rene Hollins Fund
Yurie and Carl Pascarella Fund
The Diana Dollar Knowles Fund*
Mr. James C. Hormel and
Greta R. Pofcher Fund
Rudolph W. Driscoll Fund
Leontine Sassell Fund*
Gaia Fund
Katharine Hanrahan Fund*
Phyllis and Bill Draper Fund
Columbia Foundation
KPMG Fund
Fund
Lewis and Emily Callaghan Fund*
Cohan Fund
Christine H. Russell Fund of the
Mr. Michael P. Nguyen Fund
Thomas E. Horn Fund
Elizabeth H. and Bradford G.
Murphey Fund*
Marie-Louise and David L. Pratt
Fund
Joseph B. Durra Fund
Dr. Samuel C. Hughes Fund*
Melinda and Paul Pressler Fund
Jacqueline and Christian P. Erdman
Dora Donner Ide Fund*
Virginia and Walter Price Fund
Hisako B. Shrader Fund*
The Honorable and Mrs. George P.
Shultz Fund
Martinez / Sloan Family Fund
Gail and Robert M. Smelick Fund
Cherida Collins Smith Fund
Mr. Scott C. Sollers Fund
Donald G. Speakman Fund*
Jeanette Sperry Fund*
David Stanton and Shanna
McBurney Fund
Maureen and Craig Sullivan
Family Fund
The Swanson Foundation Fund
Gretchen and L. Jay Tenenbaum
Fund
Richard J. Thalheimer Fund
Olivia Thebus Fund*
Carmen S. Thornton Fund*
John and Anna Logan Upton Fund
Susan A. Van Wagner Fund
Mrs. S. W. Veitch Fund
Harry J. Wagner Fund*
The Lonna Wais Endowment Fund
Gene Walker Fund*
Elizabeth F. Wallace Fund*
Mr. and Mrs. Paul L. Wattis III
Fund
Joan J. Jacobs Fund*
Janet L. Pynch Fund*
Phyllis C. Wattis Fund*
Sonia H. Evers Fund
G. William Jewell Fund*
Kenneth Rainin Fund
Timothy C. Wu Fund
Concepción S. and Irwin Federman
Lucy and Fritz Jewett Fund
George R. Roberts Fund
Kam Har Yung Fund
Chris and Cheryl Johns Fund
Mr. and Mrs. Claude N.
Janice and Jonathan Zakin Fund
Fund
Fund
Rosenberg, Jr. Fund
Mr. and Mrs. Elliott Felson Fund
Grace Eleanor Johnson Fund*
Jason M. Fish and
Mildred Maureen Johnson Fund*
Kate and George W. Rowe Fund
Ruby Rae Pinochi-Johnson Fund*
W. David Rozkuszka Fund*
Courtney Benoist Fund
CiCi and Stephen Zellerbach
Fund
William Zoller Fund*
2014 SE ASON | PROGR AM 1 | 57
the legacy circle
The Legacy Circle recognizes and thanks individuals who, as a part of their own legacy, make an investment in the future
of San Francisco Ballet. Legacy gifts come in all sizes and include gifts from wills and living trusts; gifts that return
lifetime income, such as charitable gift annuities, our pooled income fund; and other planned gifts. The Legacy Circle is
pleased to publicly acknowledge its members. For information about Legacy Circle membership and estate gift options,
please contact Elizabeth Lani, planned giving manager, at ELANI @SFBALLET .ORG or 415.865.6623.
Anonymous (48)
Barbara Daily
Marcia Lowell Leonhardt
Renee and Dennis Ross
Michael C. Abramson
Cornelia Y. de Schepper
John E. Leveen
Renee Rubin
Anthony J. Alfidi
David and Alaina DeMartini
Irv Lichtenwald and
Karl Ruppenthal and Jo Maxon
Cal Anderson
Karel and Mark Detterman
David and Judith Preves Anderson
Charles Dishman
George W. Lord
Norman Schlossberg
Earl Diskin
Carol and Hal Louchheim
Ms. Catherine Schmidt
Sam Alicia Duke
James J. Ludwig
Walter and Sharon Schneider
Joseph Ehrman III
Jo Markovich
Al Schroeder
Steven D. Arias
Carol S. Arnold
Roulhac and Tom Austin
Nancy R. Axelrod
ML Baird, in memory of
Travis & Marion Baird
Carol Emory
Ms. Frances Eubanks
Merritt and Mary Lou Fink
Rosemary B. Baker
Richard Fitzgerald
Richard C. Barker
Victoria Flavell
Valera Ferrea Barnhart
Mr. and Mrs. Thomas W. Foote
Marie Schoppe Bartee
Mary Jo and David Francis
Margaret Bates, M.D.
Douglas Frantz
Richard and Kathy Beal
Sandra and Alfred Fricke
Mr. and Mrs. Harold E. Benson
Connie Marie Gaglio
Dr. and Mrs. Walter E. Berger
Shelby and Frederick Gans
Karen S. Bergman
John Garfinkle
Davidson Bidwell-Waite and
Stephen and Margaret Gill
Edwin A. Waite
S. Bradley Gillaugh
Patricia Ellis Bixby
Teri and Andy Goodman
Phyllis B. Blair
Meryl Gordon, M.D.
Eileen Bobrow
Lawrence Grauman, Jr.
Aviva Shiff Boedecker
Patricia Lindsay and Donald W. Green
Jon Borset
James Gries
Bruce Braden
Martin C. Hamilton
Lisa K. Breakey
Terry Hynes Helm
Rita Brenner and Leonard Schwab
Mrs. Louis E. Hendricks
Ron and Susan Briggs
Cecilia and Jim Herbert
Leonard Brill and Richard Sanjour
Linda K. Hmelo
James R. and Melinda M. Brown
Betty Hoener
Marjorie and Gerald Burnett
Thomas E. Horn
Julie and David Burns
Donald F. Houghton
Adrian and Carol Byram
Vija M. Hovgard
Patricia J. Campbell
Harold D. and Jocelyn P. Hughes
Jack Capito
Dorothy and Bradford Jeffries
Linda Parker Cassady
Berdine Jernigan
Michaela Cassidy
Mark G. Jones
Annag Rose Chandler
Mrs. René Jopé
Antoinette Chatton
Dr. Devorah Joseph, in memory of
Diane and William Clarke
Nerrissa Joseph
Robert Clegg
David A. Kaplan
Bette Jean Clute
Rose Adams Kelly
Michael Q. Cohen and
John Kerns
Carol Berman Cohen
Mrs. Jerome Ormond Kirschbaum
Stephen R. Ripple
John Robert Martin
Connie V. Martinez
Mr. James D. Marver
Erika-Marie Matthes
Mrs. Alice T. May
Steven and Niko Mayer
Mrs. William L. McGee
Betsy and Ed McGuigan
James H. McMurray
Susan J. Meadows
Robert L. Merjano
Steve Merlo
Karl Meyer and Kelly Hails
J. Sanford Miller
Ms. Joyce E. Miller
Mr. Sidney F. Mobell
Nancy and Larry Mohr
Patricia Mok
Milton J. Mosk
Kathleen Much
Tom and Anne Muller
Peter Johnson Musto
Virginia Mylenki and
James J. Pidgeon
Phyllis W. Nelson
Mr. and Mrs. Robert L. Newman
Tom Nicoll
Norman and Hillevi Null
Dr. Florence R. Oaks, in memory of
Florence Kemper Oaks
John S. Osterweis
Rudy Picarelli
Karen Posner
Steve and Cleo Postle
R. L. Sauer
Harold E. Segelstad
Mr. and Mrs. Jack Self
Christine Selle
Michael and Daryl Shafran
J. Gary and O.J. Shansby
Foundation
John-Luke Sheridan
Mrs. Carter Parrish Sherlin
Carol R. Sholin
Edward M. Silva
Cleveland M. Smith
Dr. W. Byron Smith
Scott C. Sollers
Sue Sommer
Sharon St. James
Stephen B. Steczynski
Susanne Stevens
Nancy Stern
Natalie H. Stotz
Mrs. Dwight V. Strong
Jane and Jay Taber
Mr. and Mrs. Alan Tai
Jack Eugene Teeters
Mrs. L. Jay Tenenbaum
Sam Thal, M.D.
Richard J. Thalheimer
Suzanne and Charles Thornton
Mr. and Mrs. Howard Timoney
Michael E. Tully
Shirley Wilson Victor
Carolyn and Terry Voet
Helen von Ammon
Mrs. Katherine Wallin
Mrs. Barbara W. Wanvig
Rosalie V. Weaver
Roger and Deborah Potash
Dr. Frieda Weiner
Mr. and Mrs. Albert M. Price
Ingrid M. Weiss
Jessica M. Putney
Benjamin and Mary Ann Whitten
Jane Radcliffe
Karen and Stephen Wiel
Dave and Judy Redo
Mr. Burlington Willes
Glenn H. Reid and Frank S. Lanier
Laureen Woodruff
M.A. Rey-Bear Trust
Dr. Robert and Sharon Yoerg
Jane A. Cook
Diana Dollar Knowles
Mary Ellen Copner
Ms. June Kronberg
Mr. and Mrs. Richard D. Ringe
Rev. and Mrs. Paul H. Young, Jr.
Sandi Covell
Joan Shelbourne Kwansa
Pat Roberts
Janice Hansen Zakin
Kenneth and Diane Cox
Sharon Lampton
Elsie Robertson
Kristine A. Zeigler
Lynda Meyer Cronin
Kimun Lee
Pauline and Richard Roothman
Mrs. Stephen A. Zellerbach
58 S A N F R A N C I S C O B A L L E T
© DavidAllenStudio.com
The Legacy Circle
What
will your
legacy be ?
“We both love San Francisco Ballet and attend performances whenever
we can. We have even gone to Paris and London to see them perform. It is very
important to us to assure that the Ballet is around for future generations, just
as past audiences helped build the company we love today through their
support. That is why we have included the Ballet in our estate plans.”
Dave and Judy Redo met at UC Berkeley, fell in love, and will celebrate their 51st Wedding
Anniversary this year. They have attended SF Ballet for over 20 years and are members of the
Chairman’s Council and the Legacy Circle.
For information about bequests, charitable gift annuities, and other estate gift
options, contact Elizabeth Lani in SF Ballet’s planned giving office at 415.865.6623
or [email protected]. Patrons who include the Ballet in their will or other
estate plans are welcomed to membership in The Legacy Circle and celebrated as
essential members of the Ballet family.
thank you to our volunteers
The San Francisco Ballet “family” extends beyond the footlights of the stage to include a large community
of dedicated and generous volunteers who are personally involved with the success of the Company.
The tireless efforts of these volunteers contribute greatly to San Francisco Ballet’s accomplishments.
Auxiliary
Ms. Allison K. Huegel
Ms. Katherine Banks
The San Francisco Ballet Auxiliary is a
Mrs. James C. Kelly
Ms. Harriet L. Barbanell
group of dedicated women who organize
Mrs. Mark S. Koenig
Mrs. Patrick V. Barber
SF Ballet’s annual fundraising events of
Mrs. Mark D. Kostic
Mrs. Kent T. Baum
Opening Night Gala, Fashion Show and Student
Mrs. Alexander Leff
Mrs. Peter Berliner
Showcase. For more information, please visit
Ms. Betsy A. Linder
Mrs. John W. Bitoff
SFBALLET.ORG/GETINVOLVED/SF_BALLET_
Ms. Sheila M. Lippman
Mrs. Richard A. Bocci
AUXILIARY
Mrs. Charles Vernon Loucks
Ms. Caroline Krawiec Brownstone
Rhonda Mahendroo
Mrs. Walter Carpeneti
Mrs. David Joseph Martin
Mrs. Donald W. Carlson
Mrs. Michael L. Mauzé
Mrs. Charles E. Clemens
Mrs. William Brandenburg, President
Active Members
Ms. Laura Miller
Mrs. Daniel P. Cronan
Ms. Blanca Aguirre
Ms. Margaret Mitchell
Ms. Gail De Martini
Ms. Judy Anderson
Mrs. Timothy Michael Monahan
Mrs. Theodore S. Dobos
Mrs. James P. Anthony
Mrs. Adam J. Murphy
Mrs. David Dossetter
Ms. Donna Bachle
Mrs. Michael O’Sullivan
Mrs. Happy Dumas
Mrs. Bartley B. Baer
Mrs. Gregory Neukirchner
Mrs. Paul Robert Duryea
Mrs. Theodore Bayer
Miss Tanya Marietta Powell
Dr. DiAnn Ellis
Miss Carol Benz
Ms. Maria K. Ralph
Mrs. Douglas J. Engmann
Mrs. Steven Bergman
Ms. Megan Ray
Mrs. Christian P. Erdman
Ms. L’Ann Bingham
Ms. Michelle Renee
Ms. Lorre Erlick
Mrs. Ronald Borelli
Ms. René E. Rodman
Mrs. Robert S. Fisher
Ms. Giselle Bosc
Ms. Dara C. Rosenfeld
Ms. Dixie D. Furlong
Mrs. William S. Brandenburg
Ms. Stephanie B. Russell
Mrs. Stephen Ghiselli
Mrs. Kent F. Brooks
Ms. Meg Ruxton
Mrs. William E. Grayson
Mrs. G. Steven Burrill
Mrs. Michael Sacksteder
Ms. Nonie H. Greene
Dr. Carolyn C. Chang
Mrs. James T. Schaffer
Mrs. John P. Grotts
Mrs. Kathleen Coffino
Mrs. James D. Seltsam, Jr.
Ms. Catherine D. Hargrave
Ms. Christine Leong Connors
Mrs. David Selzer
Mrs. Michael R. Haswell
Ms. Rebecca Cooper
Ms. V’Anne Singleton
Ms. Terry Hynes Helm
Mrs. Angelos J. Dassios
Mrs. Grace Nicolson Sorg
Mrs. James A. Henderson
Ms. Carole A. Demsky
Ms. Shelby T. Strudwick
Ms. Kelli Hill
Mrs. Scott Anthony
Ms. Deborah Taylor
Mrs. Michael F. Jackson
Mrs. William Diapoulos
Mrs. Charles V. Thornton
Mrs. C. Bradford Jeffries
Mrs. Alexander Duff
Ms. Marie Hurabiell Trader
Ms. Daru H. Kawalkowski
Mrs. Frank Espina
Ms. Amy Wender-Hoch
Ms. Lisa A. Keith
Mrs. John E. Fetzer
Mrs. Steve West
Mrs. Bryan A. Kolozsi
Mrs. Richard Fullerton
Mrs. Robert W. Wood
Mrs. Robert D. Kroll
Mrs. James R. Gillette
Ms. Patricia Wyrod
Mrs. William D. Lamm
Mrs. Max Gokhman
Miss Carla J. Wytmar
Ms. Jean Larette
Mrs. Vincent Golde
Mrs. Ronald Zaragoza
Miss Elizabeth Leep
Mrs. James D. Goodman
Mrs. Helgi Tomasson, Honorary Member
Ms. Debra A. Leylegian
Mrs. Barry R. Lipman
Ms. Shelley Gordon
Mrs. David Grove
Mrs. John C. Lund
Ms. Carleen Hawn
Sustaining Members
Mrs. Terrence M. Hazlewood
Ms. Jola Anderson
Ms. Susan A. Malecki
Mrs. Ronald R. Heckmann
Mrs. Thomas G. Austin
Ms. Sandra Mandel
Ms. Kathryn Huber
Ms. Rosemary B. Baker
Mrs. Lynn McGowin
60 S A N F R A N C I S C O B A L L E T
Dr. Katalin Kádár Lynn
Mrs. Mark A. Medearis
For more information and to apply for
Cyndy Lee
Mrs. James J. Messemer
membership, visit BRAVO.SFBALLET.ORG,
Aldona Lidji
Dr. Cherie Mohrfeld
call 415.865.6750 or e-mail
Steven Loving
Mrs. Dennis Mooradian
[email protected].
Dosia Matthews
Linda Miyagawa
Mrs. Jane S. Mudge
Ms. Vickie Nelson
Patricia D. Knight, President
Keiko Moore
Gale Niess
Mrs. Robert L. Newman
Mrs. Willis H. Newton, Jr.
Volunteer Hours During the
Jazmine Paniagua
Mrs. Edward Plant
2012-2013 Season
Elizabeth Price
Mrs. Nick Podell
250+ Hours
Kathi Saage
Mrs. Todd G. Regenold
Corine Assouline
Laura Sanders
Mrs. John S. Renard
Julie Hawkins
Eileen Soden
Ms. Lorrae Rominger
Giovanna Jackson
Tracy Stoehr
Mrs. Jay Ryder
Patricia Knight
Dina Tilton
Ms. Isabel M. Sam-Vargas
Steve Merlo
Karen T. Wiel
Ms. Ellen Sandler
Deric Patrick
Adam Zhang
Mrs. Thomas Schiff
Steve Wong
Mrs. David Tai-Man Shen
Ms. Merrill Randol Sherwin
100-249 Hours
Ms. Karen L. Skidmore
Paulette Cauthorn
Mrs. Mathew Spolin
Bonnie Echerd
Mrs. Jerome J. Suich II
Philip Fukuda
Mrs. Judy Swanson
Joan Green
Ms. Jody K. Thelander
Roger Green
Ms. Elizabeth W. Vobach
Jim Gries
Mrs. Gregg von Thaden
Laura Kerepesi
Ms. Barbara Waldman
Suzanne Knott
Mrs. Jerome M. Weiss
Elmira Lagundi
Mrs. Wallace Wertsch
Betsy McGuigan
Roberta McMullan
Allegro Circle
Patricia A. Nelson
Howard L. Perkins
Allegro Circle is a diverse group of donors
Sue Plasai
who contribute their professional expertise
Sara Pope
and networks in support of the ongoing
Twyla Powers
excellence of San Francisco Ballet. For more
Kathryn Roberts
information, please contact Pamela Sullivan,
Josh Theaker
major gifts officer, at 415.865.6634 or
Johnathon Voolgaris
[email protected].
Mary Ann Whitten
Steering Committee
55-99 Hours
Erin Glenn, Chair
Marilyn Breen
Paula Elmore
Lynne D. Butcher
Tim Garry and Amanda Link
Jeanette Chudnow
Patrice and Walther Lovato
Mary Davi
Gregg and Kelly Mattner
Inna T. Edwards
Stewart McDowell Brady and Philip Brady
Angela Friday
Tricia Weaver Moss and Charles Moss
Bettina Graf
David H. Spencer
Kimberly S. Hall
Lydie Hammack
BRAVO
Michael Hart
Diane Hourany
BRAVO is an organization of community
Christine Jensen
volunteers who support San Francisco Ballet
Robin Kinoshita
through a variety of administrative tasks and
Joan Kwansa
activities in the Ballet offices and at events.
David Lau
35-54 Hours
Ricardo Aisenberg
James Alexander
Rae Almajose
Matilda Belo-Aisenberg
Jon Borset
Monique Brown
Sharon Chen
Hiromi Ejima
Piers Greenhill
Susan Kalian
Sanae Kelly
John Maher
Anne Snowball
Nancy T. Tam
Steve Trenam
Stephen Wiel
Lisa Zhong
Eric Zigas
ENCORE!
ENCORE! is a group of young Bay Area
men and women supporting SF Ballet
through performance attendance,
volunteer involvement, and financial
support. For more information on ENCORE!,
please email [email protected].
Jane Burkhard, Co-President
Wilson Yan, Co-President
Emily Hu, Vice President
Kelly Cramer, Secretary
Lina Ochman, Treasurer
Ashley Tudor, Membership Chair
Alyson Blume, Gala Chair
Robin Farmanfarmaian, Immediate
Past President
2014 SE ASON | PROGR AM 1 | 61
san francisco war memorial and
performing arts center
War Memorial Opera House owned and operated by the city and county of
San Francisco through the board of trustees of the War Memorial of San Francisco
The Honorable Edwin M. Lee, Mayor
Trustees
MajGen J. Michael Myatt, USMC (Ret.), President
Wilkes Bashford, USMC (Ret.), Vice President
Nancy H. Bechtle
Belva Davis
Thomas E. Horn
Gorretti Lo Lui
Mrs. George R. Moscone
Elizabeth Murray, Managing Director
Jennifer E. Norris, Assistant Managing Director
62 S A N F R A N C I S C O B A L L E T
Paul F. Pelosi
Charlotte Mailliard Shultz
James W. Stafford
Diane B. Wilsey
San Francisco Ballet School
Under the leadership of
Associate Director
Patrick Armand, San Francisco
Ballet School is the nation’s
oldest ballet school and the
official school of SF Ballet.
The diverse curriculum, grounded
in classical technique, also
includes classes in contemporary
dance, corps de ballet, music, conditioning/floor
barre, and character dance.
TO LEARN MORE VISIT:
school.sfballet.org
The School’s studios are located in the same building
as SF Ballet, giving students daily opportunities
to observe Company classes and rehearsals.
The School plays a vital role in SF Ballet’s story ballet
productions, providing students the once-in-a-lifetime opportunity to perform in such productions
as Nutcracker, Giselle, and Romeo & Juliet.
pre-ballet
AGES 5-7 ( for 2014-15 school year)
• Registration begins in April 2014
• No audition required
• Admissions are accepted on a first
come, first served basis
auditions for children
More than
50 percent of the
dancers in SF Ballet
received all or
part of their training
at the School.
AGES 8-11 ( for 2014-15 school year)
• Sat, May 3, 2014
san francisco auditions
for summer session
AGES 12 - 18
• Sun, Feb 9, 2014
Final San Francisco audition date!
ALL PHOTOS SAN FRANCISCO BALLET SCHOOL (© ERIK TOMASSON)
Learn. Grow. Dance.
The Official Sponsor of
San Francisco Ballet School’s
2014 Audition Tour
Metamorphosis, an Hermès story
« Chaîne d’ancre 24 » bracelet in silver
San Francisco
125 Grant Avenue (415) 391-7200
Hermes.com