2019 SEASON PROGRAMS 07 THE LITTLE MERMAID / …5 Welcome to The Little Mermaid and Shostakovich Trilogy, the final two programs of our 2019 Season. These deeply engrossing works were

THE LITTLE MERMAID /SHOSTAKOVICH TRILOGY

2 0 1 9 S E A S O N | P R O G R A M S 0 7 / 0 8

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PROGRAMS 07 / 08 | SFBALLET.ORG | 1

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TABLE OF CONTENTS

PROGRAM 07 | THE LITTLE MERMAID / PROGRAM 08 | SHOSTAKOVICH TRILOGY

05 Greetings from the Artistic Director

& Principal Choreographer

06 Board of Trustees

Endowment Foundation Board

08 SF Ballet Leadership

1 0 For Your Information

1 2 Timeline: Recognizing Glenn McCoy

1 4 SF Ballet School Spotlight

1 6 Explore Ballet

1 8 Artists of the Company

26 PROGRAM 07 The Little Mermaid

34 PROGRAM 08 Shostakovich Trilogy

Symphony #9

Chamber Symphony

Piano Concerto #1

40 SF Ballet Orchestra

42 SF Ballet Staff

44 Donor News

48 SF Ballet Donors

62 Thank You to Our Volunteers

64 Last Words on The Little Mermaid

05

San Francisco Ballet | Program Book | Vol. 26, No. 72019 Repertory Season

All editorial material © San Francisco Ballet, 2019 Chris Hellman Center for Dance

455 Franklin Street, San Francisco, CA 94102 415 861 5600 | sfballet.org

Cover: Yuan Yuan Tan // © Erik Tomasson

Above, top to bottom: Helgi Tomasson; Sofiane Sylve and Tiit Helimets in Ratmanksy’s

Shostakovich Trilogy // Both © Erik Tomasson

34

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FP 4

PROGRAMS 07 / 08 | 415 865 2000 | 5

Welcome to The Little Mermaid and Shostakovich Trilogy, the final two programs of our 2019 Season. These deeply engrossing works were created by two of the most talented choreographers working today.

John Neumeier’s The Little Mermaid is a tour de force of contemporary dance theater. John takes the emotional heart of Hans Christian Andersen’s fairy tale and reframes it, incorporating both the artist (the Poet) and the art. He explores the deeper, emotional themes of the original story, dramatically underscoring the sacrifice and unrequited love the title character endures. Beyond the movement itself, John conceived every detail of the scenic, costume, and lighting designs, which along with the score composed by Lera Auerbach, bring this story to life with a theatrical vibrancy perfectly suited for our Opera House stage. Because the role of the Mermaid is as much of an emotional as a physical challenge, it’s a transformational role—both demanding and deeply gratifying. You’ll have an opportunity to see a different side of our dancers in The Little Mermaid.

Alexei Ratmansky’s Shostakovich Trilogy is another truly unique work of art. Alexei crafted a cohesive evening-length work from three markedly different ballets, all set to music by this singular composer. Shostakovich Trilogy, a co-commission between San Francisco Ballet and American Ballet Theatre, was an ambitious project that has earned accolades from audiences and critics around the globe. Alexei subtly weaves elements of Shostakovich’s life throughout the ballet, more abstractly in Symphony #9 and Piano Concerto #1 and more overtly in Chamber Symphony. And even if you are unfamiliar with Shostakovich, the themes explored in this ballet—love, grief, and fear—are universal.

If you enjoy Shostakovich Trilogy, I have some good news—we’ll be presenting the SF Ballet premiere of Alexei Ratmansky’s The Seasons, another co-production with American Ballet Theatre, in 2020. Our 2020 Season includes our signature blend of new works and beloved classics: world premieres by Cathy Marston and Trey McIntyre, as well as George Balanchine’s A Midsummer Night’s Dream, Christopher Wheeldon’s Cinderella©, and my production of Romeo & Juliet. Next Season will also bring the return of Mark Morris’ Sandpaper Ballet, and three works from our Unbound Festival: David Dawson’s Anima Animus, Edwaard Liang’s The Infinite Ocean, and Stanton Welch’s Bespoke.

Thank you for supporting San Francisco Ballet. I hope to see you again in the Opera House soon.

Sincerely,

Helgi Tomasson Artistic Director & Principal Choreographer

GREETINGS FROM THE ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER

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FP 5

6 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08

SAN FRANCISCO BALLET ENDOWMENT FOUNDATIONBOARD OF DIRECTORS | 2018–19

BOARD OF TRUSTEES | 2018–19

SAN FRANCISCO BALLET ASSOCIATION

Carl F. Pascarella, Chair of the Board and Executive Committee

John S. Osterweis†, Immediate Past Chair

Margaret G. Gill, Vice Chair

James H. Herbert, II†, Vice Chair

Lucy Jewett, Vice Chair

James D. Marver, Vice Chair

Diane B. Wilsey, Vice Chair

Nancy Kukacka, Treasurer

Jennifer J. McCall, Secretary

Susan S. Briggs, Assistant Secretary

Helgi Tomasson, Artistic Director & Principal Choreographer

Glenn McCoy*, Executive Director

Jola Anderson

Kristen A. Avansino

Richard C. Barker†

Karen S. Bergman

Gary Bridge

Chaomei Chen

Hannah Comolli

Christine Leong Connors

David C. Cox

Lisa Daniels

Susan P. Diekman

Sonia H. Evers

Shelby M. Gans

Joseph C. Geagea

Richard Gibbs, M.D.

Beth Grossman

Matthew T. Hobart

Patrick M. Hogan

Thomas E. Horn

Hiro Iwanaga

Thomas M. Jackson, M.D.

Elaine Kartalis

James C. Katzman

Yasunobu Kyogoku

Kelsey Lamond

Brenda Leff

Marie O’Gara Lipman

Alison Mauzé

Marissa Mayer

John T. Palmer

Fritz Quattlebaum

Kara Roell

Christine Russell

Randee Seiger

John S. Osterweis, President Emeritus

J. Stuart Francis, Vice President

Thomas E. Horn, Treasurer

Kevin Mohr‡, Chief Financial Officer

Elizabeth Lani‡, Assistant Secretary

Richard C. Barker

Susan S. Briggs

Nancy Kukacka

Hilary C. Pierce

Larissa K. Roesch

Robert G. Shaw

Christine E. Sherry

Charlotte Mailliard Shultz

Catherine Slavonia

David Hooker Spencer

Fran A. Streets

Judy C. Swanson

Richard J. Thalheimer

Miles Archer Woodlief

Timothy C. Wu

Zhenya Yoder

Janice Hansen Zakin

TRUSTEES EMERITI

Michael C. Abramson

Thomas W. Allen

Marjorie Burnett

Robert Clegg

Charles Dishman

Garrettson Dulin, Jr.†

Millicent Dunham

Stephanie Barlage Ejabat

J. Stuart Francis†

Sally Hambrecht

Ingrid von Mangoldt Hills

Pamela J. Joyner†

David A. Kaplan

Mary Jo Kovacevich

James J. Ludwig†

Nancy H. Mohr

Marie-Louise Pratt

George R. Roberts

Kathleen Scutchfield

Robert M. Smelick

Susan A. Van Wagner

Dennis Wu

Akiko Yamazaki

ASSOCIATE TRUSTEES

Ann Kathryn Baer, President, San Francisco Ballet Auxiliary

Steve Merlo, President, BRAVO

Daniel Cassell, President, ENCORE!

Stewart McDowell Brady, Patrice Lovato, Co-Chairs, Allegro Circle

James D. Marver, President

† Past Chair * Non-Trustee ‡ Non-Director

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FP 6


SAN FRANCISCO BALLET LEADERSHIP

MARTIN WESTMUSIC DIRECTOR & PRINCIPAL CONDUCTOR

PATRICK ARMANDDIRECTOR, SAN FRANCISCO BALLET SCHOOL

Martin West leads an orchestra that is as

musically excellent as it is adventurous.

Under his direction the SF Ballet Orchestra

has greatly expanded its catalog of

recordings. Born in Bolton, England,

he studied math at Cambridge. After

studying music at the Royal Academy

of Music in London and St. Petersburg Conservatory of Music, he made

his debut with English National Ballet and was appointed resident

conductor. As a guest conductor, he has worked with New York City

Ballet, The National Ballet of Canada, and The Royal Ballet. He was

named music director of SF Ballet in 2005. West’s recordings with

SF Ballet Orchestra include the complete score of Tchaikovsky’s

Nutcracker and an album of suites from Delibes’ Sylvia and Coppélia.

He also conducted for the award-winning DVD of Neumeier’s The Little

Mermaid as well as SF Ballet’s televised recording of Nutcracker for

PBS and the 2015 in-cinema release of Romeo & Juliet for Lincoln

Center at the Movies’ Great American Dance.

Born in Marseille, France, Patrick Armand

studied with Rudy Bryans, his mother

Colette Armand, and at the École de

Danse de Marseille. He won the Prix

de Lausanne in 1980 and continued his

studies at the School of American Ballet.

In 1981, he joined the Ballet Théâtre

Français de Nancy and was promoted to principal dancer in 1983.

The following year he joined the English National Ballet, where he

danced for six years before joining Boston Ballet in 1990. A frequent

guest teacher for schools and companies in Amsterdam, Florence,

London, Naples, Tokyo, and Toronto, Armand was appointed teacher

and ballet master of the Teatro alla Scala in Milan in 2006. In 1998

and 2009, he served as a jury member of the Prix de Lausanne and

since 2010 has been the competition’s official male coach and teacher.

He was appointed principal of the SF Ballet School Trainee Program

in 2010, SF Ballet School associate director in 2012, and director of

SF Ballet School in 2017.

HELGI TOMASSONARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER

GLENN MCCOYEXECUTIVE DIRECTOR

Helgi Tomasson, one of the supreme

classical dancers of his generation,

has led San Francisco Ballet for 34 years

and is the longest-serving sole artistic

director of a major ballet company. Born

in Iceland, he danced with Harkness

Ballet, The Joffrey Ballet, and New York

City Ballet, where he distinguished himself as a dancer of technical

purity, musicality, and intelligence. Tomasson assumed leadership of

SF Ballet in 1985. Under his direction, SF Ballet has developed into a

Company widely recognized as one of the finest in the world. Tomasson

has balanced devotion to the classics with an emphasis on new work,

cultivating frequent collaborations and commissions with renowned

choreographers such as William Forsythe, Christopher Wheeldon,

Alexei Ratmansky, and Mark Morris, among many others. He has

choreographed more than 50 works for the Company, including

full-length productions of Swan Lake, The Sleeping Beauty, Romeo &

Juliet (taped for Lincoln Center at the Movies’ Great American Dance),

Giselle, and Nutcracker (taped for PBS’s Great Performances). He

conceptualized the 1995 UNited We Dance festival, in which SF Ballet

hosted 12 international companies; the 2008 New Works Festival,

which included 10 world premieres by 10 acclaimed choreographers;

and the 2018 Unbound: A Festival of New Works. Tomasson has

also connected SF Ballet to the world, through co-commissions

with American Ballet Theatre, The Royal Ballet, and Dutch National

Ballet; and major tours to Paris, London, New York City, China,

and his native Iceland.

SF Ballet pays tribute to Glenn McCoy

this season, which is his 31st and final

season with San Francisco Ballet

before retirement. After working

for San Francisco Opera and the

Metropolitan Opera, McCoy joined

San Francisco Ballet in 1987. He served

as company manager and general manager before being appointed

executive director in April 2002. McCoy has overseen the production

of more than 130 new repertory and full-length ballets and more than

50 domestic and international tours, including engagements in Paris,

London, New York, Beijing, and Washington, DC. He supervised

SF Ballet’s operations for the critically acclaimed international dance

festival, UNited We Dance, in 1995; SF Ballet’s 75th Anniversary

Season in 2008; and the 2018 Unbound festival. He has overseen

tapings of Lar Lubovitch’s Othello, Helgi Tomasson’s Nutcracker,

and John Neumeier’s The Little Mermaid, which have been broadcast

on PBS by Thirteen/WNET New York’s performing arts series Great

Performances, as well as Tomasson’s Romeo & Juliet, which premiered

in Lincoln Center at the Movies’ Great American Dance series in 2015.

His incredible contribution to the past, present, and future of SF Ballet

is profoundly admired throughout the organization. For more on Glenn

McCoy’s contribution to SF Ballet, please see page 12.

Headshots // © Erik Tomasson and Chris Hardy

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P U R C H A S I N G T I C K E T S You can order online at sfballet.org or call Ticket Services at 415 865 2000, Monday–Friday, 10 am–4 pm. On performance dates, phones are open from 10 am until the performance begins. The SF Ballet Box Office in the Opera House is open only on performance dates and opens four hours prior to each performance. During the hour prior to curtain, the Box Office only handles business for the upcoming show.

Groups of 10 or more can save up to 30 percent. For information, visit sfballet.org/groups or call 415 865 6785.

IN THE OPERA HOUSE

DINING and refreshment options are offered pre-show and

at intermissions throughout the War Memorial Opera House

by Global Gourmet. For reservations, call 415 861 8150, email

[email protected], or visit opentable.com.

Beverages in the auditorium are allowed if they are purchased

in the Opera House and are in the approved compostable cup

with a lid.

THE SHOP at SF Ballet is open one hour before each performance,

during intermissions, and after weekend matinees, even if you’re

not attending the performance itself (visit the Box Office for a

special pass). The Shop is also online at sfballet.org/shop.

RESTROOMS are located on all floors except Main Lobby level

(first floor).

COAT AND PARCEL CHECK ROOMS are located on the north

and south side of the Main Lobby. All parcels, backpacks, and luggage

must be checked.

OPERA GLASSES are available for $5 rental at the north lobby

coat check room and require a valid ID as a deposit.

COURTESY TELEPHONES, for local calls only, are on the

Main Lobby level, across from the elevators.

TAXIS line up after performances at the Grove Street Taxi Ramp

on the south side of the Opera House. Taxis are provided on a

first-come, first-served basis. Our staff will assist you.

WALKING TOURS of the San Francisco War Memorial and

Performing Arts Center are available most Mondays at select hours.

For information, call 415 552 8338.

ACCESSIBILIT Y SF Ballet is committed to providing access for all of our patrons.

Please contact Ticket Services at 415 865 2000 prior to the

performance with questions so that we can ensure your comfort.

Wheelchair-accessible entrances are available on the north, east,

and south sides of the Opera House.

Wheelchair seating positions are on the Orchestra and Dress Circle levels.

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.

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.

FOR YOUR INFORMATION

I M P O R TA N T P O L I C I E S

Late seating isn’t allowed while a performance is in

progress. You’ll be asked to stand until a break in the

action, which might be at intermission.

Occupying a seat other than the seat for which you hold

a ticket isn't allowed. Please sit only in your ticketed seat.

Audio/visual recordings of any kind of the performance

are strictly forbidden.

Mobile devices should be turned off and put away before

the performance; the lights and sounds are a distraction.

Children attending a performance must have a ticket

and occupy that seat; no infants or lap sitting, please.

Children need to be at least five years old to attend

Repertory Season performances.

Management reserves the right to remove any patron

who is creating a disturbance.

Smoking is not permitted in the Opera House.

Emergency services are available in the Opera House

Lower Lounge level, where an EMT is on duty.

Lost & Found is located at the north coat check room.

Call 415 621 6600, Mon–Fri, 8:30–11:30 am, or email

[email protected].

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TIMELINE: RECOGNIZING GLENN MCCOY

FP 8

A tradition of innovation flows through the history of San Francisco Ballet. As the oldest professional ballet company in the U.S., SF Ballet builds upon strong classical roots, while continually exploring and redefining where the art form is headed. Executive Director Glenn McCoy retires this summer after 31 seasons with SF Ballet. Because he’s played such an integral role in the past, present, and future of this Company, this Timeline weaves together key moments in his career, important projects and tours he’s overseen alongside Artistic Director Helgi Tomasson, some of his favorite ballets, and important SF Ballet milestones. For a complete history of San Francisco Ballet, please visit sfballet.org/history. For more on Glenn McCoy, see page 7.

The San Francisco Opera Ballet performs the first all-dance performance at the new Opera House. 1933

2015Tomasson’s Romeo & Juliet is featured in Lincoln

Center at the Movies: Great American Dance.

Historic photos: Courtesy of the Museum of Performance + Design. Photo of Adam’s Night // © Chris Hardy. Photos of Tomasson’s Nutcracker; Caniparoli’s Lambarena; SF Ballet in China; Natasha Sheehan; Helgi Tomasson and Glenn McCoy // © Erik Tomasson

2018SF Ballet commissions 12 international

choreographers to create 12 world premieres for Unbound:

A Festival of New Works.

Natasha Sheehan

2007

Tomasson’s Nutcracker (also a Glenn McCoy favorite) is recorded

for Great Performances.

San Francisco Ballet in Tomasson’s Nutcracker.

SF Ballet makes its first trip to the People’s Republic of China with Tomasson’s 1998 production of Swan Lake, a Glenn McCoy favorite.

San Francisco Ballet visiting the Forbidden City while on tour in China.

2009

1985Helgi Tomasson arrives as artistic director, beginning a new era for SF Ballet.

Helgi Tomasson

Glenn McCoy is awarded the Lew Christensen Medal in honor of his dedication to SF Ballet.

Helgi Tomasson and Glenn McCoy watching rehearsal.

2019

1991SF Ballet tours to New York City for the first time in 26 years, performing Forsythe’s New Sleep, a Glenn McCoy favorite.

SF Ballet in Forsythe’s New Sleep.

SF Ballet hosts 12 international companies in UNited We Dance, celebrating the 50th

anniversary of the signing of the UN Charter in the War Memorial Opera House. Val Caniparoli’s

Lambarena, one of Glenn McCoy’s favorites, premieres earlier that season.

Frances Chung in Caniparoli’s Lambarena.

1995

Glenn McCoy is named Executive Director of SF Ballet.

Glenn McCoy

2002

Glenn McCoy joins SF Ballet.

Glenn sitting on the steps of the SF Ballet building.

1987

Glenn McCoy becomes General Manager of SF Ballet.

1993

2000

SF Ballet’s Discovery Program features six new works, including Julia Adam’s Night and Yuri Possokhov’s Magrittomania, two Glenn McCoy favorites.

Matthew Stewart and Joseph Phillips in Adam’s Night.

Carmina buranaTUE JUN 4 8PMChristian Reif Conductor Nikki Einfeld Soprano Nicholas Phan Tenor Hadleigh Adams Baritone SF Symphony Chorus Ragnar Bohlin Director SF Symphony

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SF BALLET SCHOOL SPOTLIGHT

On a rainy Monday afternoon, a panel of San Francisco Ballet luminaries sat expectantly in a row of folding chairs

in a large studio usually used for Company rehearsals. SF Ballet dancers Frances Chung and Sofiane Sylve, dancer

and choreographer Myles Thatcher, SF Ballet School Faculty member Pascal Molat, and former Associate Director

of SF Ballet School Lola de Avila had gathered to watch choreography created by the School’s advanced students.

One by one the students approached the panel to introduce themselves and speak briefly about the short ballets

they’d created on their peers. The works were as individual as the dancers—some quirky, some serious, some more

classical, others more contemporary. It was the diversity of approach and the depth of talent that revealed an

emerging success story:

SF Ballet School has been quietly nurturing the next generation of creative as well as performing artists.

DEVELOPING THE NEXT GENERATION OF DANCEMAKERS

ENCOURAGING CREATIVITY The School’s choreography program has blossomed from early roots as a component of the Trainee program and then a partnership with

the Crowden School, an academic and music school in Berkeley. For several years, students from the two arts schools have teamed up, with

Crowden students writing music and SF Ballet School students creating choreography. The resulting work was performed in an informal spring

performance for fellow students, friends, and family members.

That once informal spring performance has grown into the Helgi Tomasson Choreographic Workshop, an annual spring event. Once SF Ballet

students had tried choreography, they wanted more, says Faculty member Dana Genshaft, who oversees the School’s choreography program.

So School Director Patrick Armand expanded the program, giving advanced (Level 8) students the opportunity to propose and create their own

choreography for the annual workshop. Were they interested? Last spring, “There were so many works that the Choreographic Workshop was

more than two hours long,” says Andrea Yannone, director of education and training, with a laugh. Hence the Monday panel: three of the works

by Level 8 students would be selected to be performed at this year’s Helgi Tomasson Choreographic Workshop.

MENTORING EMERGING ARTISTIC VOICES The Choreographic Workshop is also where the School’s Choreographic Fellows are identified. Although choreography has always been a

part of the Trainee program, Tomasson decided to formalize a Choreographic Fellowship in 2016, with the goal of encouraging and supporting

a diverse range of artistic voices. He selected Blake Johnston, then a Trainee, as the first Choreographic Fellow. The program is designed to

support one or more students each year. This year there are three: MJ Edwards, Pemberley Ann Olson (at right), and Maya Wheeler. In addition

to a scholarship, each Fellow receives mentorship and guidance both artistically and in the less glamorous yet eminently practical matters of

budgeting, managing rehearsal time, and working with designers. Each Fellow creates a work for the Choreographic Workshop; the strongest

work(s) may be selected to be part of the School’s Spring Festival.

Formalizing the School’s choreographic program has provided structure and encouragement, while including what most students still need—

sense of fun and exploration. “What’s really great is that there’s now this really wonderful creative, supportive, curious energy around

choreography,” says Genshaft. “Beyond the time we give them for rehearsals, I’ll often see them in the studio just trying movement and

playing, which is exactly what you want a creative atmosphere to be.”

A S F B A L L E T S C H O O L S U C C E S S S TO R Y

SF Ballet dancer and choreographer Myles Thatcher choreographed his first work,

Timepiece, on his peers while a Trainee at SF Ballet School. It was so successful that it was

performed at a festival at Canada’s National Ballet School. While starting his dancing career

with SF Ballet, Thatcher returned to the School to choreograph for the students, gaining

experience. His first work for SF Ballet, In the Passerine’s Clutch, premiered at SF Ballet’s

2013 Repertory Season Gala, followed by Manifesto (2015), Ghost in the Machine (2017),

and Otherness (2018). While still dancing with SF Ballet, Thatcher has also created ballets

for The Joffrey Ballet, New York City Ballet, Charlotte Ballet, and more.


Opposite page: Myles Thatcher rehearsing his Otherness //

© Erik Tomasson. This page, left to right: Pemberley Ann

Olson as a SF Ballet School pre-ballet student © Courtesy

Pemberley Ann Olson; Pemberley Ann Olson in Tomasson’s

Nutcracker // © Erik Tomasson; Pemberley Ann Olson and

SF Ballet School students performing a demonstration in

the 2018 Student Showcase // © Lindsay Thomas

Pemberley Ann Olson, a 16-year-old Choreographic Fellow and SF Ballet Student, writes about developing her skills

as a dancer and as a dancemaker.

A STUDENT’S PERSPECTIVE ON LEARNING CHOREOGRAPHY

I started at San Francisco Ballet School when I was six years old. I remember my first day like it was yesterday. We started our class with basic

ballet steps and learned some new moves that we could show to our parents. I remember vividly when our teacher, Ms. Kristi, had the pianist

play music from Nutcracker and let us dance across the floor. She wanted to see how we could use our musicality, artistry, and creativity in our

own dancing. At that moment, I knew I wanted to be a ballet dancer.

Choreography has been an important part of my journey here at the School. Over the past 11 years, I have watched many ballets performed by

the Company, from story ballets to new contemporary works. Watching these inventive and creative pieces has given me ideas and inspiration

for my own choreography. What’s fascinating to me is how different choreographers have their own process. Some utilize improvisation and

experimentation and others have set ideas, already knowing exactly what they want to see from the dancers. I’m still developing my own process,

trying out new things.

It’s been amazing to work with some of my closest friends, creating a piece that makes them shine in their own way. I love to see a small idea

that might not have started out strong turn into a pivotal point in choreography. I’m extremely excited to present my work at the Helgi Tomasson

Choreographic Workshop in April. We’ve all worked very hard to make something, and I can’t wait to show the final result.

Being a Choreographic Fellow has been an amazing experience. I’ve discovered how much I love to see my own ideas of movement come to

life. Choreographing lets me release all my feelings into movement. I hadn’t realized how much I loved to create until I was given the chance

to, and for that, I am so thankful. It’s always been my lifelong dream to be a professional ballet dancer and being a choreographer is now a

new ambition. San Francisco Ballet School has given me so many incredible opportunities: from that first experience when I was 6 years old,

dancing Nutcracker, it’s been an incredible adventure.

S T U D E N T C H O R E O G R A P H Y & T H E S P R I N G F E S T I VA L

The annual spring performance of SF Ballet School students has a new format—and will

feature student choreography. SF Ballet School Spring Festival (formerly known as SF Ballet

School Student Showcase) will include three nights of unique performances, a dinner on

opening night, and new interactive activities. Augmenting the repertory will be a new work

by AXIS Dance Company Artistic Director Marc Brew created for the Trainees, excerpts from

two ballets by Jiří Kylián, and at least one premiere from one of the School’s Choreographic

Fellows (selected after the Helgi Tomasson Choreographic Workshop). Performances will

be held May 22–24 at Yerba Buena Center for the Arts Theater. Following the May 22

performance, SF Ballet Auxiliary hosts the SF Ballet School Spring Festival Dinner at the

Four Seasons Hotel San Francisco to benefit the School’s scholarship fund, which gives

more than $1.2 million annually in need- and merit-based grants to students. For more:

sfballet.org/schoolfestival

FP 9


EXPLORE BALLETMEET THE ARTIST INTERVIEWS (AND PODCASTS) 1–1:30 PM BEFORE SUNDAY MATINEES; 7–7:30 PM BEFORE FRIDAY EVENING PERFORMANCES; APR 27 POST-MATINEE; MAY 7 AT 6:30 PM

FREE and open to all ticket holders for selected performances. For details: sfballet.org/mta

Meet the Artist Interviews (MTAs) feature a conversation with an artist who worked on the performance. An archive of previous MTAs is available at sfballet.blog.

POINTES OF VIEW LECTURES WEDNESDAYS, 6–6:45 PM

FREE and open to the public. For details: sfballet.org/pov

PROGRAM 07 The Little Mermaid April 24 Company dancers discuss how they prepare to perform the dramatic roles in John Neumeier’s ballets.

PROGRAM 08 Shostakovich Trilogy May 8 Carrie Gaiser Casey, PhD presents an analysis of Alexei Ratmansky’s Chamber Symphony, the centerpiece of his Shostakovich Trilogy.

DANCE FOR ALL AGES Let your spirit soar as you experience the joy of dancing.

ADULT BALLET CL ASSES

Gentle Ballet, True Beginner, Beginner/Intermediate, and Intermediate/Advanced classes are offered. For more: sfballet.org/adultballet

ADULT BALLET WORKSHOP

Why do kids always get to have all the fun? SF Ballet School is organizing the third-annual summer dance workshop just for adults, June 10–15.

DANCE SERIES FOR INDIVIDUALS WITH PARKINSON’S DISE ASE

In partnership with Kaiser Permanente, we offer free dance classes designed for people with Parkinson’s Disease. For more information,

contact Cecelia Beam at [email protected].

SF BALLET SCHOOL AT F ITNESS SF

1455 Fillmore Street, San Francisco, CA

SF Ballet School Faculty teach both Ballet 101 (beg.) and Ballet 201 (beg./int.) at FITNESS SF. Class fee includes a day pass to FITNESS SF.

BALLET FOR CHILDREN Share a love of dance with the next generation.

CHILDREN’S AUDITIONS FOR

SF BALLET SCHOOL

We’re holding auditions for our 2019–20

school-year program on June 2, for students

who are ages 8–11 by September 1, 2019.

For more information and to register:

sfballet.org/school/audition

BALLET FOR YOUNG CHILDREN

Fall 2019 Pre-Ballet classes are open for

enrollment. sfballet.org/preballet

SUMMER BALLET CL ASSES

June 8–29 and July 6–27

Students ages 4–13 welcome. For more:

sfballet.org/school/summer-classes

SUMMER DANCE CAMP

June 10–14

Boys & Girls Clubs of San Francisco

(BGCSF) and SF Ballet are partnering for a

free, weeklong dance program. For more

information: sfballet.org/dancecamp

BALLET BOOK CLUB

April 20, 5–6:30 pm: The Little Mermaid

Ever wondered about the literature behind

the ballets? We’ll read the story, compare it

to the ballet, and, of course, have a glass of

wine. Cost: $20/$15 (subscribers & donors)

BALLET TALK

May 11, 5–6:30 pm: Creating New Work

with Marc Brew

Enjoy a 60-minute talk and Q & A, as well as

a wine-and-cheese reception. Cost: $35/$30

(subscribers & donors)

BALLET CHAT

May 12, 4:30–6 pm: Shostakovich Trilogy

You’ve just seen an inspiring performance.

Now what? Have a glass of wine, mingle

with fellow ballet fans, and participate in an

informal moderated conversation. Cost: $10

EVENTS Explore the method behind the magic you see onstage. For more: sfballet.org/events

All Audience Engagement Programs are subject to change. The views, opinions, and information expressed are strictly those of the participants, and do not necessarily represent or imply any official position of San Francisco Ballet Association. For more information about these programs, visit sfballet.org/explore or email [email protected].

(855) 886-4824 | fi rstrepublic.com | New York Stock Exchange symbol: FRCMEMBER FDIC AND EQUAL HOUSING LENDER

“First Republic takes extraordinary care of us and provides fl awless service.”

H E L G I TO M A S S O N , Artistic Director & Principal Choreographer, San Francisco BalletM A R L E N E TO M A S S O N , Former Dancer, Wife and Mother

EAP full-page template.indd 1 10/23/17 2:31 PM


PRINCIPAL DANCERS

Dores André

Ulrik Birkkjaer

Frances ChungHerbert Family Principal Dancer

Sasha De Sola

Carlo Di Lanno

Mathilde Froustey

Jaime Garcia Castilla

Angelo Greco

Tiit Helimets

Luke Ingham

Vitor Luiz

Aaron Robison

Ana Sophia Scheller

Jennifer Stahl†

Sofiane SylveDiane B. Wilsey Principal Dancer

Yuan Yuan TanRichard C. Barker Principal Dancer

Sarah Van PattenDiana Dollar Knowles Principal Dancer

Joseph WalshJohn and Barbara Osterweis Principal Dancer

Wei Wang†

SOLOISTS

Max Cauthorn†

Daniel Deivison-Oliveira†

Isabella DeVivo†

Jahna Frantziskonis

Benjamin Freemantle†

Esteban Hernandez

Koto Ishihara†

Vladislav Kozlov

Steven Morse†

Wona Park†

Elizabeth Powell†

Julia Rowe†

Henry Sidford†

Lauren Strongin

Lonnie Weeks

Hansuke Yamamoto

WanTing Zhao†

CORPS DE BALLET

Kamryn Baldwin†

Sean Bennett†

Ludmila Bizalion†

Samantha Bristow†

Alexandre Cagnat†

Ethan Chudnow†

Thamires Chuvas†

Cavan Conley

Diego Cruz†

Megan Amanda Ehrlich

Lucas Erni†

Solomon Golding

Gabriela Gonzalez

Nicolai Gorodiskii

Anatalia Hordov†

Ellen Rose Hummel†

Jasmine Jimison†

Blake Johnston†

Madison Keesler†

Shené Lazarus†

Elizabeth Mateer

Norika Matsuyama†

Carmela Mayo†

Swane Messaoudi†

Davide Occhipinti†

Kimberly Marie Olivier†

Sean Orza†

Lauren Parrott†

Nathaniel Remez†

Alexander Reneff-Olson†

Emma Rubinowitz†

Skyla Schreter

Natasha Sheehan†

Miranda Silveira†

John-Paul Simoens†

Myles Thatcher†

Mingxuan Wang†

Joseph Warton†

Maggie Weirich†

Ami Yuki†

APPRENTICES

Estéban Cuadrado†

Max Föllmer†

Joshua Jack Price†

Leili Rackow†

Jacob Seltzer†

BALLET MASTERS

Betsy Erickson† Anita Paciotti† Katita Waldo†

COMPANY TEACHERS

Helgi Tomasson Patrick Armand Ricardo Bustamante† Felipe Diaz†

Ricardo Bustamante† Val Caniparoli† Anita Paciotti†

PRINCIPAL CHARACTER DANCERS

Ricardo Bustamante† Felipe Diaz†

BALLET MASTERS & ASSISTANTS TO THE ARTISTIC DIRECTOR

Yuri Possokhov

CHOREOGRAPHER IN RESIDENCE

Martin West

MUSIC DIRECTOR AND PRINCIPAL CONDUCTOR

ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER

Helgi Tomasson

2018–19 SEASONSAN FRANCISCO BALLET ARTISTS OF THE COMPANY

†Received training at San Francisco Ballet School Dancer head shots // © Chris Hardy and David Allen


DORES ANDRÉBorn in Vigo, Spain, Dores André trained with Antonio Almenara and at Estudio de Danza de Maria de Avila. She joined the Company in 2004, was promoted to soloist in 2012, and to principal dancer in 2015.

JAIME GARCIA CASTILLAJaime Garcia Castilla was born in Madrid, Spain, and studied at the Royal Conservatory of Professional Dance. He was named an SF Ballet apprentice in 2001 and joined the Company the following year. He was promoted to soloist in 2006 and to principal dancer in 2008.

ULRIK BIRKKJAER Born in Copenhagen, Denmark, Ulrik Birkkjaer trained at the Royal Danish Ballet School. He danced with the Royal Danish Ballet before joining San Francisco Ballet as a principal dancer in 2017.

FRANCES CHUNGBorn in Vancouver, Canada, Frances Chung trained at Goh Ballet Academy before joining SF Ballet in 2001. She was promoted to soloist in 2005 and principal dancer in 2009. She was appointed Herbert Family Principal Dancer in 2018.

CARLO DI LANNOCarlo Di Lanno was born in Naples, Italy, and trained at La Scala Ballet School in Milan. He danced with La Scala Ballet and Staatsballett Berlin before joining San Francisco Ballet as a soloist in 2014. He was promoted to principal dancer in 2016.

MATHILDE FROUSTEYMathilde Froustey was born in Bordeaux, France, and trained at the Marseille National School of Ballet and Paris Opera Ballet School. She danced with Paris Opera Ballet before joining SF Ballet as a principal dancer in 2013.

SASHA DE SOLABorn in Winter Park, Florida, Sasha De Sola trained at the Kirov Academy of Ballet. She was named an SF Ballet apprentice in 2006 and joined the Company in 2007. She was promoted to soloist in 2012 and principal dancer in 2017.

TIIT HELIMETSBorn in Viljandi, Estonia, Tiit Helimets trained at Tallinn Ballet School. He danced with Estonian National Ballet and Birmingham Royal Ballet before joining San Francisco Ballet as a principal dancer in 2005.

ANGELO GRECOBorn in Nuoro, Italy, Angelo Greco trained at La Scala Ballet School in Milan. He danced with La Scala Ballet before joining SF Ballet as a soloist in 2016. He was promoted to principal dancer in 2017.

LUKE INGHAMFrom Mount Gambier, South Australia, Luke Ingham trained at the Australian Ballet School. He danced with The Australian Ballet and Houston Ballet before joining SF Ballet as a soloist in 2012. He was promoted to principal dancer in 2014.

AARON ROBISONBorn in Coventry, England, Aaron Robison trained at the Institut del Teatre in Barcelona and at the Royal Ballet School. He has danced with Birmingham Royal Ballet, Ballet Corella, Houston Ballet, and English National Ballet. Robison joined SF Ballet as a principal in 2016 and returned in 2018.

VITOR LUIZBorn in Juiz de Fora, Brazil, Vitor Luiz trained at The Royal Ballet School. He danced with Birmingham Royal Ballet and Ballet do Theatro Municipal do Rio de Janeiro prior to joining SF Ballet as a principal dancer in 2009.

PRINCIPAL DANCERS


PRINCIPAL DANCERS

PRINCIPAL CHARACTER DANCERS

ANA SOPHIA SCHELLERBorn in Buenos Aires, Argentina, Ana Sophia Scheller trained at the Instituto Superior de Arte del Teatro Colón and the School of American Ballet. She danced with New York City Ballet before joining SF Ballet as a principal dancer in 2017.

SARAH VAN PATTENSarah Van Patten, born in Boston, Massachusetts, danced with Massachusetts Youth Ballet and the Royal Danish Ballet before joining SF Ballet as a soloist in 2002. She was promoted to principal dancer in 2007. She was appointed Diana Dollar Knowles Principal Dancer in 2013.

JENNIFER STAHL† Born in Dana Point, California, Jennifer Stahl trained at Maria Lazar’s Classical Ballet Academy and SF Ballet School. She was named an SF Ballet apprentice in 2005 and joined the corps de ballet in 2006. She was promoted to soloist in 2013 and principal dancer in 2017.

SOFIANE SYLVESofiane Sylve was born in Nice, France, where she studied at the Académie de Danse. She danced with Germany’s Stadttheater, Dutch National Ballet, and New York City Ballet prior to joining SF Ballet as a principal dancer in 2008. She was appointed Diane B. Wilsey Principal Dancer in 2017.

JOSEPH WALSHBorn in Doylestown, Pennsylvania, Joseph Walsh trained at Walnut Hill School of the Arts and Houston Ballet II. He danced with Houston Ballet before joining SF Ballet as a soloist in 2014. He was promoted to principal dancer that same year. He was appointed John and Barbara Osterweis Principal Dancer in 2017.

YUAN YUAN TANYuan Yuan Tan was born in Shanghai, China, and trained at Shanghai Dancing School and Stuttgart’s John Cranko School. She joined SF Ballet as a soloist in 1995 and was promoted to principal dancer in 1997. She was appointed Richard C. Barker Principal Dancer in 2012.

WEI WANG†Born in Anshan, China, Wei Wang trained at Beijing Dance Academy and SF Ballet School. He was named apprentice in 2012, and joined the Company as a corps de ballet member in 2013. He was promoted to soloist in 2016 and to principal dancer in 2018.

ANITA PACIOTTI†Born in Oakland, California Joined in 1968 Named principal character dancer in 1987

RICARDO BUSTAMANTE†Born in Medellín, Colombia Joined in 1980 Named principal character dancer in 2007

VAL CANIPAROLI†Born in Renton, Washington Joined in 1973 Named principal character dancer in 2007

PROGRAMS 07 / 08 | 415 865 2000 | 21

SOLOISTS

MAX CAUTHORN†Born in San Francisco, California Named apprentice in 2013 Joined in 2014 Promoted to soloist in 2017

DANIEL DEIVISON-OLIVEIRA† Born in Rio de Janeiro, BrazilJoined in 2005Promoted to soloist in 2011

ISABELLA DEVIVO† Born in Great Neck, New York Joined in 2013 Promoted to soloist in 2017

BENJAMIN FREEMANTLE†Born in New Westminster, Canada Named apprentice in 2014 Joined in 2015 Promoted to soloist in 2018

STEVEN MORSE†Born in Harbor City, California Joined in 2009 Promoted to soloist in 2017

JAHNA FRANTZISKONIS Born in Tucson, Arizona Joined in 2015 Promoted to soloist in 2017

VLADISLAV KOZLOVBorn in Saratov, Russia Joined as a soloist in 2018

ESTEBAN HERNANDEZBorn in Guadalajara, Mexico Joined in 2013 Promoted to soloist in 2017

KOTO ISHIHARA†Born in Nagoya, Japan Joined in 2010 Promoted to soloist in 2014

†Received training at San Francisco Ballet School

Dancer head shots // © Chris Hardy and David Allen


SOLOISTS

WONA PARK†Born in Seoul, South KoreaJoined in 2017 Promoted to soloist in 2018

ELIZABETH POWELL† Born in Boston, MassachusettsNamed apprentice in 2011Joined in 2012 Promoted to soloist in 2018

LONNIE WEEKS Born in Los Alamos, New MexicoJoined in 2010 Promoted to soloist in 2018

JULIA ROWE† Born in Elizabethtown, PennsylvaniaJoined in 2013Promoted to soloist in 2016

LAUREN STRONGINBorn in Los Gatos, CaliforniaJoined as a soloist in 2015

HANSUKE YAMAMOTOBorn in Chiba, JapanJoined in 2001Promoted to soloist in 2005

HENRY SIDFORD† Born in Marblehead, MassachusettsNamed apprentice in 2011Joined in 2012 Promoted to soloist in 2018

WANTING ZHAO† Born in Anshan, ChinaJoined in 2011 Promoted to soloist in 2016



SAMANTHA BRISTOW†Born in Media, PennsylvaniaNamed apprentice in 2014Joined in 2015

ETHAN CHUDNOW†Born in Napa, California Named apprentice in 2017 Joined in 2018

CORPS DE BALLET

KAMRYN BALDWIN†Born in Honolulu, Hawai’i Joined in 2015

CAVAN CONLEYBorn in Bozeman, Montana Joined in 2018

SEAN BENNETT† Born in San Francisco, CaliforniaNamed apprentice in 2011Joined in 2012

LUDMILA BIZALION†Born in Rio de Janeiro, BrazilNamed apprentice in 2006Joined in 2007Returned in 2016

MEGAN AMANDA EHRLICHBorn in Charleston, South CarolinaNamed apprentice in 2011Joined in 2012Returned in 2017

ALEXANDRE CAGNAT†Born in Cannes, FranceNamed apprentice in 2016Joined in 2017

THAMIRES CHUVAS†Born in Rio de Janeiro, BrazilNamed apprentice in 2014Joined in 2015

GABRIELA GONZALEZBorn in Mérida, MexicoJoined in 2017

DIEGO CRUZ† Born in Zaragoza, SpainJoined in 2006

LUCAS ERNI†Born in Santo Tomé, Argentina Joined in 2018

SOLOMON GOLDINGBorn in London, United KingdomJoined in 2017

†Received training at San Francisco Ballet School



CORPS DE BALLET

NICOLAI GORODISKIIBorn in Lviv, Ukraine Joined in 2018

ANATALIA HORDOV† Born in Santa Clarita, California Named apprentice in 2017 Joined in 2018

ELLEN ROSE HUMMEL†Born in Greenville, South CarolinaNamed apprentice in 2011Joined in 2012

CARMELA MAYO† Born in Las Vegas, Nevada Named apprentice in 2017 Joined in 2018

SWANE MESSAOUDI†Born in Aix-en-Provence, France Named apprentice in 2017 Joined in 2018 †Received training at San Francisco Ballet School


BLAKE JOHNSTON†Born in Charlotte, North CarolinaJoined in 2017

MADISON KEESLER†Born in Carlsbad, CaliforniaJoined in 2009Returned in 2017

SHENÉ LAZARUS†Born in Durban, South AfricaNamed apprentice in 2016Joined in 2017

NORIKA MATSUYAMA†Born in Chiba, Japan Joined in 2014

ELIZABETH MATEERBorn in Boca Raton, FloridaJoined in 2016

DAVIDE OCCHIPINTI†Born in Rome, ItalyNamed apprentice in 2016Joined in 2017

KIMBERLY MARIE OLIVIER†Born in New York, New YorkNamed apprentice in 2009Joined in 2010

SEAN ORZA†Born in San Francisco, CaliforniaNamed apprentice in 2007 Joined in 2008

JASMINE JIMISON†Born in Palo Alto, CaliforniaNamed apprentice in 2018Joined in 2019

PROGRAMS 07 / 08 | 415 865 2000 | 25


CORPS DE BALLET

APPRENTICESESTÉBAN CUADRADO†

MAX FÖLLMER†

JOSHUA JACK PRICE†

LEILI RACKOW†

JACOB SELTZER†

NATASHA SHEEHAN†Born in San Francisco, CaliforniaJoined in 2016

LAUREN PARROTT†Born in Palm Harbor, FloridaNamed apprentice in 2012Joined in 2013

JOHN-PAUL SIMOENS†Born in Omaha, NebraskaNamed apprentice in 2014Joined in 2015

NATHANIEL REMEZ† Born in Washington, DCNamed apprentice in 2016Joined in 2017

ALEXANDER RENEFF-OLSON†Born in San Francisco, CaliforniaNamed apprentice in 2012Joined in 2013

EMMA RUBINOWITZ†Born in San Francisco, CaliforniaNamed apprentice in 2012Joined in 2013

SKYLA SCHRETERBorn in Chappaqua, New YorkJoined in 2014

JOSEPH WARTON†Born in Beaverton, OregonJoined in 2017

MIRANDA SILVEIRA†Born in Rio de Janeiro, BrazilNamed apprentice in 2013Joined in 2014

AMI YUKI†Born in Saitama, JapanNamed apprentice in 2014Joined in 2015

MYLES THATCHER† Born in Atlanta, GeorgiaNamed apprentice in 2009Joined in 2010

MINGXUAN WANG†Born in Qingdao, China Named apprentice in 2013Joined in 2014

MAGGIE WEIRICH†Born in Portland, OregonNamed apprentice in 2014Joined in 2015


0 7

THE LITTLE MERMAIDA ballet by John Neumeier after Hans Christian Andersen


THE LITTLE MERMAIDAPR 19 —APR 28

Yuan Yuan Tan in Neumeier’s The Little Mermaid // © Erik Tomasson

Composer: Lera Auerbach

Choreographer; Scenic, Costume, and Lighting Designer: John Neumeier

Staged by: Leslie McBeth and Niurka Moredo

Lighting Realized by: Ralf Merkel

World Premiere: April 15, 2005—The Royal Danish Ballet;

Copenhagen, Denmark

Hamburg Version: July 1, 2007—Hamburg Ballet; Hamburg, Germany

United States Premiere: March 20, 2010—San Francisco Ballet,

War Memorial Opera House; San Francisco, California

The 2010 SF Ballet premiere of The Little Mermaid was made possible

in part by Lead Sponsor E. L. Wiegand Foundation.

These performances of The Little Mermaid are made possible by

Lead Sponsors Ms. Laura Clifford, and Cui Lihong and Wang Wei;

Major Sponsors Chaomei Chen and Dr. Yu Wu, In Memory of Carole Demsky,

Drs. Richard D. and Patricia Gibbs, Jim and Cecilia Herbert,

Marie and Barry Lipman, and Mrs. Henry I. Prien;

and Sponsor Brian and Rene Hollins.

PRODUCTION CREDITS

Music by Lera Auerbach, used by arrangement with G. Schirmer, Inc.,

publisher and copyright owner. Hamburg Ballet Lighting Director,

Ralf Merkel. Scenery and Costumes courtesy of Hamburg Ballet.


PROLOGUE

During a sea voyage, a Poet remembers the wedding of his dear

friend Edvard to Henriette. Mourning his separation from Edvard,

a tear rolls slowly down the Poet’s cheek, falling into a sea of

memories and fantasies.

PART 1

At the bottom of the sea, the Poet’s longing for Edvard takes the form

of a little Mermaid. This lovely sea creature watches a ship pass on the

water’s surface, and dreams of the earth world. On board the passing

ship, sailors are exercising. Their Captain, a Prince—strongly resembling

Edvard—is absurdly playing golf. Accidentally hitting a ball overboard,

he dives into the sea to retrieve it. Although the Prince is unable to see

the Mermaid, her presence embraces him. When the Sea Witch appears,

a terrible storm erupts and the Prince is in danger of drowning; the Poet

wills the little Mermaid to rescue him. Holding the Prince’s unconscious

body, the Mermaid, whose frolicsome play has now turned to love,

cannot resist kissing him.

Bells sound as a group of convent school girls arrive at the seashore.

One of the girls, a Princess—looking very much like Henriette—

discovers the Prince. She tentatively wakes him. Believing the Princess

to be one who saved him, the Prince seems to fall in love with her.

Sad and despondent, the little Mermaid witnesses the developing

affection between the Prince and Princess, and mirroring the Poet’s

soul, her desire for the Prince turns to desperation. Determined to

become human, the little Mermaid searches for the Sea Witch. Love

gives the little Mermaid courage to beg for a human body. A terrible

ritual follows, and taking her beautiful tail as ransom, the Sea Witch

violently transforms her. The little Mermaid now has legs.

Waking naked on the seashore, she finds her first steps unbearably

painful. The Prince, passing by, takes pity on this strange creature and

carries her on board his ship. It seems her dream has been realized.

As the ship is about to depart, the Prince discovers the Princess among

the passengers. As the love between the Prince and Princess intensifies,

the little Mermaid suffers the intense pain of human disappointment.

T H E S T O R Y O F T H E L I T T L E M E R M A I D

PROGRAMS 07 / 08 | 415 865 2000 | 29

All photos: San Francisco Ballet in Neumeier’s The Little Mermaid // © Erik Tomasson

PART 2

The little Mermaid is determined to be a woman, but the closed

rooms of the earth world stifle her attempts. In spite of her efforts,

she is still awkward and clumsy in her human body. Visions of

the sea cross through her dream. Deeply in love with the Prince,

the little Mermaid’s desire to be loved in return is now clearly in

vain; today he will marry the Princess. The little Mermaid is to be

a bridesmaid.

During the celebrations, the Sea Witch appears as part of a strange

entertainment. He gives the little Mermaid a lethal knife, promising

that if she kills the Prince, her tail will be restored, and she will

be able to return home in the deep sea. After all the guests have

departed, the little Mermaid encounters the Prince. But it is clear to

her that she could never harm him. During their farewell, the little

Mermaid wonders whether the Prince feels, just for a moment, the

depth of her passion. Did they nearly kiss? Abruptly he departs for

his wedding night with the Princess.

EPILOGUE

The little Mermaid is left alone. Her pain reflects the Poet’s own

painful situation. Each seems the shadow of the other—each

abandoned by the object of their intense love. They are one—

creator and creation. It is the Poet’s love for his Mermaid that gives

her the soul that will make her immortal, just as she, “The Little

Mermaid,” will immortalize him. Courageous, they search for a

new world.

T H E S T O R Y O F T H E L I T T L E M E R M A I D


P R O G R A M N O T E S by Cheryl A. Ossola

In The Little Mermaid, Hamburg Ballet Director and Chief Choreographer

John Neumeier blends dance, dramatic storytelling, and spectacle

into a stunning interpretation of Hans Christian Andersen’s fable. With

choreography, sets, and costumes all by Neumeier, this ballet—as

much theater as it is dance—reveals the depths of the choreographer’s

imagination. And it demands the heights of artistry from the dancers,

who must venture into deeply emotional terrain in order to convey the

ballet’s full message.

Neumeier elevates a fantasy into a sophisticated portrayal of

psychological transformation and the resilience of the spirit, human or

otherwise. Neumeier created The Little Mermaid for the Royal Danish

Ballet in 2005 to celebrate the 200th anniversary of Andersen’s birth.

Of all the famous writer’s stories, the choreographer chose this one

because of its “very particular concept of love,” he says. “Love that is

so strong that it can overcome boundaries, that it can transport her to

new worlds, although it may seem to be self-destructive—because the

Mermaid re-creates herself at the cost of extreme personal pain. But the

story teaches us, at the same time, that no matter how strong our love

may be, it doesn’t obligate the object of our love to love us in return.”

“Visually stunning” is how San Francisco Ballet Artistic Director and

Principal Choreographer Helgi Tomasson described The Little Mermaid

when he first saw it in Hamburg. “It was a very dramatic piece, very

emotional,” he says. Always looking for opportunities for his dancers,

Tomasson says he felt this ballet would be “wonderful to bring to

San Francisco. The role of the Mermaid is fantastic! It’s very difficult,

what she has to do.” Tomasson and Neumeier have a long history—

as a member of the Harkness Ballet, Tomasson danced in Stages and

Reflections, one of Neumeier’s earliest ballets. “We’re talking about

more than 40 years ago,” says Tomasson. But the experience left a

clear memory of what it’s like to work with Neumeier. “He’s very

demanding—he reminds me of [Jerome] Robbins in that way—every

little detail has to be to his liking,” Tomasson says. “I feel that he’s a

major artist, and maybe now the time is right for us to see his work

more in this country.”

Neumeier, a Milwaukee-born American who has spent nearly his entire

career in Europe, trained in Copenhagen and London and began his

dancing and choreographic careers at Stuttgart Ballet. After only six

years there, in 1969 he became director of the Frankfurt Ballet, where

he caused a stir with his reinventions of classics such as Nutcracker and

Romeo and Juliet. Four years later he began his tenure as director and

chief choreographer of the Hamburg Ballet, and in 1978 he founded a

school that now supplies more than 70 percent of the company’s dancers.

He has created close to 140 ballets for his own company and as a guest

choreographer for American Ballet Theatre, The National Ballet of Canada,

and throughout Europe. His extensive list of honors includes dance and

arts awards from the United States, Germany, France, Russia, Japan,

Denmark, and several publications.

Given Neumeier’s tendency to couch ballet tradition in a stylized

dramatic format, it’s not surprising to learn that he holds a degree in

English literature and theater studies (from Marquette University in

Milwaukee). He cites Japan’s Noh theater, a roughly 700-year-old form

of musical drama with a fixed repertory and masked performers, as a

favorite. Cultural influences permeate his ballets as well; for example,

the Mermaid’s hairstyle, makeup, and costume derive from African,

Balinese, and Japanese traditional styles. In considering making a ballet

about the Mermaid’s story, Neumeier saw the potential for imaginative

richness. Its magical premise, fanciful characters, and worlds gone askew

make it a perfect vehicle for the kind of dance-theater he does so well.

But Neumeier’s first concern with any ballet is whether its story

translates well into dance. “There are certain beautiful stories that are so

dependent on words that even the essential conflict, the internal story,

is not really possible to present in a nonverbal form of theater,” he says.

So first he envisions what is possible to portray onstage. “I always think

the job of a choreographer is not to put steps together; it is to create

worlds,” he says.

But with this ballet he faced a huge obstacle: finding a way for the

dancers who portray the Mermaid and her sisters to move as though

they have tailfins, not legs. “How do you do that in a ballet?” he asks.

“Because I knew I wanted to do this story, I agreed to do it before I knew

the answer to that.” Then, while on tour in Japan with his company,

he saw a Noh play, and in it was his answer. “There is a medieval kind

of Japanese trousers, which are very, very long, and watching this man

moving I thought, ‘That’s it—he has no legs!’ ” For his Mermaid, Neumeier

designed wide-legged silk pants that add fluidity to her movements,

pooling onto the floor when she stands and fanning out like fins when

she is held aloft to “swim.”

Helping Neumeier define the distinctions between land, ship, and sea

is Russian composer Lera Auerbach. Like the abstract waves of light

that divide the stage visually, showing us whether we’re above the

water’s surface or below it, the music too sets the scene, evoking both

atmosphere and emotional tone. Auerbach, a prolific, award-winning

musician (and a poet to boot), earned two degrees at The Juilliard School

and completed a piano soloist program at the University of Music and

Theater in Hanover, Germany. Her works, performed worldwide, include

ballets, operas, symphonies, concertos, string quartets, and other

chamber works.

In her score for The Little Mermaid, sweet and haunting melodies for

violin flow into brusque passages of atonality and dissonance, making

audible the strangeness and discomfort of being out of one’s element.

Complex and changeable, with few normal harmonic progressions, in

early rehearsals the score challenged the dancers, who can’t fully invest

themselves in their roles until they have integrated movement and music

into an unquestionable whole.


Yuan Yuan Tan in Neumeier’s The Little Mermaid // © Erik Tomasson

Beyond its setting, Mermaid offers more riches. Written between

the lines of this fable about personal sacrifice was a far more touching

story—Andersen’s own torment. According to Neumeier, many scholars

believe that this story is probably Andersen’s most autobiographical

work. The writer had a history of falling in love with women he could not

have, and a few men as well. This tale of unrequited love could well be

his own; shortly before he wrote it he had suffered greatly at the marriage

of Edvard Collin, a love interest who did not return his affections. “So in a

sense,” Neumeier says, “Andersen’s disappointment [about Collin] is the

jumping-off point for The Little Mermaid.”

Neumeier has played on that fact, expanding the ballet’s story to include

Andersen as the Poet (who is, like the Mermaid, in love with the Prince).

Neumeier didn’t intend to depict Collin specifically; instead, he says

“the historical facts inspire and help to create a new Prince—through

movement—in the necessary present tense of dance. You can do a lot

of research for a ballet, but even if your subject is a historical person,

you cannot use intellectual findings as a recipe book for creation.”

But as integral to the story as the Poet and the Prince are, it’s the

Mermaid who is at the heart of this ballet. And Principal Dancer

Yuan Yuan Tan seems born to the role. She found a strong personal

connection with the Mermaid, she says, in the character’s pursuit of

“unconditional love. People dream about it. And [the Mermaid] tries to

pursue it, and fails, but still believes in it. I think all of us do things we

want to do, and if we try and fail, it’s okay; we keep going.”

Tan says she didn’t expect to experience any monumental

transformations as a dancer at this point in her career. But dancing

the Mermaid “brought my dance skill up to another level,” she says.

“I have to say this role changed my career. I didn’t think I could have

grown anymore; I thought, ‘I’m pretty comfortable with where I am.’

And now I express myself more and I have less worries about what

I’m doing. I think I’ve come to a stage [where] I just feel happy to

dance—not as an obligation, not as a job, but as a joy. The mind and

soul—it’s all there. Life goes on, things change, and you grow and you

learn. So it’s a combination of the whole. I’m much happier.”

Dancing the Mermaid requires an emotional investment on a level not

often found in ballet. The character’s psychological journey is not only

searing, it’s an endurance test for the dancer, who remains onstage for

long stretches of time. With no chance to stand in the wings and prepare

for the next emotionally devastating scene, it requires a mental presence

that’s immediate and committed. “John told me, ‘Don’t act,’” Tan says.

“He doesn’t want the girls all doing the same stuff, because everybody’s

different. Because he’s the creator, he gives you the steps and the music

to express yourself.” Within the choreographer’s parameters, the dancers

brought their own feelings and experiences to the role. “One time he said

to me, ‘I can see you’re working on it, and I can see a lot of improvement.

And now [I want] more. I will tell you if it’s too much.’” In conveying what

he wanted, Tan says, Neumeier didn’t need words. “I could see through

his eyes what he wanted. And he saw my expressions in my body and

knew what I was trying to say. So it’s communication without speaking.”

As the Mermaid makes her way through physically and emotionally

disturbing terrain, we see the world through her eyes. And so everything

underwater is beautiful and serene. “She is in her element [there]—

gorgeously, beautifully, and belonging,” says Neumeier. “She knows

this world, and yet she has a desire to go beyond that.” But what she

discovers when she leaves her watery home “is that our dreams,

our answered prayers are not always what we wanted—not always as

we imagined them,” says the choreographer. “The earth world, which

she so desires, can have some very sharp edges.”

Those edges become visible in the searing pain she endures as she

walks on the feet she wanted so much, the bizarre behavior of the ship’s

passengers, the nightmarish atmosphere to the Prince’s wedding, and

the horror of being bound by ceilings and walls instead of free to roam an

endless oceanic paradise. Toward the end of the ballet Neumeier reveals,

in his set and in the Mermaid’s actions, the trap she has laid for herself.


And yet the Mermaid’s terrible sacrifice leads not to tragedy but to

redemption, and that’s what makes this story compelling. “There is a

sense of transcendence in the last dance [the Mermaid and the Poet]

do together,” says Neumeier. “I think that the story is, in its essence,

so beautiful. I don’t know of another story in literature with such a

vision of love.”

And that’s the secret to The Little Mermaid’s power. Yes, it offers up

stunningly original dancing and high theatricality. But audiences and

dancers connect to it because of its story. Tan says she was shocked at

the impact the ballet had on her. “After the premiere, the bow, I couldn’t

stop crying. And I had to get John onstage, and he was crying, and he

gave me a hug and we cried onstage. I would never have thought this

would happen, but it was good.” Her face lights up in a huge smile.

“Because my heart was out there.”

C R E AT I V E T E A M

LER A AUERBACH Composer

Lera Auerbach is a Russian and American composer, musician, poet, and

visual artist. Auerbach studied at the Juilliard School and Hanover

University in Germany, earning degrees in composition and piano. Her

genre-defying works have been performed around the world by

orchestras, opera companies, and at festivals, museums, and theaters

such as Carnegie Hall and the Moscow Conservatory. Her a cappella

opera, Gogol, premiered to thrilling success at Theater an der Wien in

Vienna in 2011, and was the first major opera by a female composer in

that city. Auerbach has composed music for three ballets by John

Neumeier: Tatiana (a reimagining of Onegin), Préludes CV, and The Little

Mermaid. Her composition for dance and ballet also includes works for

Nederlands Dans Theater, The National Ballet of Canada, the Finnish

National Ballet, and more. Among her many awards, Auerbach received

the prestigious Hindemith Prize in 2005, and was named a Young Global

Leader by the World Economic Forum in 2007.

JOHN NEUMEIER Choreographer, Scenic, Costume, and Lighting Design

John Neumeier was born in Milwaukee, Wisconsin, where he received his

first dance training. He continued his dance studies in Chicago as well as

at Marquette University in Milwaukee where he created his first

choreographic works. After further ballet study both in Copenhagen and

at The Royal Ballet School in London, John Cranko invited him in 1963 to

join Stuttgart Ballet, where he progressed to soloist and continued his

choreographic development.

In 1969, Ulrich Erfurth appointed Neumeier director of Frankfurt Ballett,

where he soon caused a sensation due to his new interpretations of

such well-known ballets as The Nutcracker and Romeo and Juliet. In 1973,

he joined The Hamburg Ballet as director and chief choreographer and,

under his direction, The Hamburg Ballet became one of the leading

ballet companies on 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 ballets range from new versions of full-length story

ballets to musicals and to his symphonic ballets, especially those based

on Gustav Mahler’s compositions, as well as his choreography to sacred

music. His latest creations for The Hamburg Ballet are Beethoven Project

(2018), Anna Karenina (2017) and Turangalîla (2016). Neumeier holds the

Dance Magazine Award (1983), Order of Merit of the Federal Republic of

Germany and French Order of Arts and Letters, and the Legion of Honour.

In 2006, he was awarded the prestigious Nijinsky Award for Lifetime

Achievement. He received the Herbert von Karajan Musikpreis in 2007

and the Deutscher Jubiläums Tanzpreis in 2008. In 2007, he was made

an honorary citizen of the city of Hamburg.

In 2015, the Inamori Foundation presented Neumeier with the Kyoto Prize

for his contributions to the Arts and Philosophy and in 2016, he received

the Lifetime Achievement Awards of the Prix Benois de la Danse and the

Prix de Lausanne.

LESLIE MCBETH Stager

Leslie McBeth is a former ballet dancer, and current ballet mistress at

Hamburg Ballet. McBeth was born in California and received training at

Sacramento Ballet and the School of American Ballet in New York City.

Her career began at Sacramento Ballet and Milwaukee Ballet, and

transitioned to Europe where she danced at Stuttgart Ballet, and as a

principal at Zürich Ballet and Ballet du Nord in France. McBeth joined

Hamburg Ballet as a ballet mistress in 2003, and travels around the

globe teaching and staging Neumeier ballets.

John Neumeier works with company artists during rehearsal of Neumeier’s The Little Mermaid // © Erik Tomasson

PROGRAMS 07 / 08 | 415 865 2000 | 33

[ I N S TA NT E X PE RT >> H A N S C H R I S T I A N A N D E R S E N A N D B A L L E T ]

Both: San Francisco Ballet in Neumeier’s The Little Mermaid // © Erik Tomasson

NIURK A MOREDO Stager

Niurka Moredo is a former dancer and current ballet mistress with

Hamburg Ballet. Born in Puerto Rico, she trained in Puerto Rico and

Florida and joined the Royal Danish Ballet in 1990. There, she performed

soloist roles in Bournonville ballets, as well as SF Ballet artistic director

Helgi Tomasson’s The Sleeping Beauty. In 1995 she joined Hamburg

Ballet and spent most of her dancing career there as a soloist. Since

retiring from the stage in 2007, she has worked closely with Hamburg

Ballet Artistic Director John Neumeier, and stages his ballets around

the world.

R ALF MERKEL Lighting Technician

Born in Altenburg, Germany, Ralf Merkel concentrated on the artistic and

technical aspects of theatrical lighting after graduating as an electrical

engineer. He started his career working for the Landestheater Altenburg

and the Prinzregenten Theatre in Munich, where he also taught at the

Bavarian Theatre Academy. Since 2002, Merkel has worked at the

Hamburg State Opera as Lighting Director for the Hamburg Ballet. He has

toured with the company to the most prestigious theaters around the

world, including the Bolshoi Theatre in Moscow, the John F. Kennedy

Center for the Performing Arts in Washington DC, and the Bunka Kaikan in

Tokyo. Working in close partnership with John Neumeier, Merkel has

supervised the lighting of creations and revivals of Neumeier’s works

with renowned ballet companies worldwide.

Hans Christian Andersen’s stories have been the basis of many ballets—Balanchine’s The Steadfast Tin Soldier,

Bronislava Nijinska’s The Ice Maiden, Arthur Pita’s The Little Match Girl, Justin Peck’s The Most Incredible Thing,

John Neumeier’s The Little Mermaid—and of course the most famous ballet movie of all time, The Red Shoes.

What is it about Andersen’s work that has inspired these creators? At least in part, it’s the way his fairy tales play with

ideas often found in ballets: a man encounters a supernatural creature and they cannot overcome their differences.

This theme plays out, in a way, in his life as well: Andersen never married, but fell in love with both men and women

throughout his life, none of whom seemed to return his affection. Andersen’s The Ugly Duckling, who discovers he’s a

swan; and The Little Mermaid, who transforms herself for love, also seem deeply autobiographical. These stories make

rich fodder for an art form which is particularly suited to evoking emotional states and supernatural worlds.

Did you know that Andersen was also a fan of the ballet? He briefly attended the Royal Ballet School in Copenhagen

and was friends with August Bournonville, the famous choreographer and artistic director. Bournonville even made a

ballet out of his The Steadfast Tin Soldier in 1871. Though the ballet was only performed 14 times in Andersen’s life,

he wrote in his diary that after its premiere, he “went up to the stage and thanked Bournonville. He, in turn, embraced

me and asked if I could see a touch of my spirit in the ballet.” Today we see a touch of his spirit in all the ballets made

of or about his work.


PRODUCTION CREDITS

Shostakovich Trilogy – Scenic construction by R.A. Reed-USA, Inc., Portland, Oregon, and Scenic Art Studios, Newburgh, New York. Costumes

constructed by Artur & Tailors Ltd., New York, New York, and Euro Co. Costumes, Inc., New York, New York. Costume dyeing and digital printing

by Dyenamix Inc., and Raylene Marasco, New York, New York.

Symphony #9 – Music: Symphony No. 9 in E-flat Major, Op. 70 by Dmitri Shostakovich, used by arrangement with G. Schirmer, Inc., publisher

and sole copyright owner. Photo image © Estate of George Platt Lynes.

Chamber Symphony – Music: Shostakovich/Barshai: Chamber Symphony (after String Quartet No. 8), Op. 110a used by arrangement with

G. Schirmer, Inc., publisher and sole copyright owner. Design based on a painting by Pavel Filonov.

Piano Concerto #1 – Music: Concerto No. 1 for Piano, Trumpet, and String Orchestra, Op. 35 by Dmitri Shostakovich, used by arrangement with

G. Schirmer, Inc., publisher and sole copyright owner.


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PRODUCTION CREDITS

Shostakovich Trilogy – Scenic construction by R.A. Reed-USA, Inc., Portland, Oregon, and Scenic Art Studios, Newburgh, New York. Costumes

constructed by Artur & Tailors Ltd., New York, New York, and Euro Co. Costumes, Inc., New York, New York. Costume dyeing and digital printing

by Dyenamix Inc., and Raylene Marasco, New York, New York.

Symphony #9 – Music: Symphony No. 9 in E-flat Major, Op. 70 by Dmitri Shostakovich, used by arrangement with G. Schirmer, Inc., publisher

and sole copyright owner. Photo image © Estate of George Platt Lynes.

Chamber Symphony – Music: Shostakovich/Barshai: Chamber Symphony (after String Quartet No. 8), Op. 110a used by arrangement with

G. Schirmer, Inc., publisher and sole copyright owner. Design based on a painting by Pavel Filonov.

Piano Concerto #1 – Music: Concerto No. 1 for Piano, Trumpet, and String Orchestra, Op. 35 by Dmitri Shostakovich, used by arrangement with

G. Schirmer, Inc., publisher and sole copyright owner.

SYMPHONY #9

World Premiere: October 18, 2012—American Ballet Theatre, New York City Center; New York, New York

San Francisco Ballet Premiere: April 2, 2014—War Memorial Opera House; San Francisco, California

CHAMBER SYMPHONY

World Premiere: May 31, 2013—American Ballet Theatre, Metropolitan Opera House; New York, New York

San Francisco Ballet Premiere: April 2, 2014—War Memorial Opera House, San Francisco, California

SHOSTAKOVICH TRILOGY

Composer: Dmitri Shostakovich

Choreographer: Alexei Ratmansky

Staged by: Nancy Raffa

Scenic Designer: George Tsypin

Costume Designer: Keso Dekker

Lighting: Jennifer Tipton

Shostakovich Trilogy was co-commissioned by San Francisco Ballet and American Ballet Theatre.

P IANO CONCERTO # 1

World Premiere: May 31, 2013—American Ballet Theatre, Metropolitan Opera House; New York, New York

San Francisco Ballet Premiere: April 2, 2014—War Memorial Opera House; San Francisco, California

The 2014 SF Ballet premiere of Alexei Ratmansky’s Shostakovich Trilogy was made possible by New Productions

Fund Lead Sponsors Mrs. Jeannik Méquet Littlefield, and Mr. and Mrs. John S. Osterweis; Major Sponsors

Rudolf Nureyev Dance Foundation, and Larry and Joyce Stupski; and Sponsors 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, and Diane B. Wilsey.

These performances of Shostakovich Trilogy are made possible by Lead Sponsors Mr. Richard C. Barker,

Teri and Andy Goodman, and Mr. and Mrs. John S. Osterweis, with additional support provided by the

Phyllis C. Wattis Fund of the SF Ballet Endowment Foundation.


Often not particularly melodic, with rapid-fire shifts in tone and tempo, Dmitri Shostakovich’s music seems more suited for concert

halls and film scores than for the ballet stage. But in the hands of choreographer Alexei Ratmansky, this music is danceable indeed.

Shostakovich Trilogy, a co-production of San Francisco Ballet and American Ballet Theatre (ABT), consists of three discrete ballets

conceived to be performed together. Like George Balanchine’s Jewels, the three ballets complement one another, producing their

full impact when seen together. Yet each multifaceted dance sparkles on its own.

SF Ballet Artistic Director and Principal Choreographer Helgi Tomasson’s first reaction to Ratmansky’s concept was admiration

“for going with the same composer for the whole evening,” he says. “Shostakovich is not nearly as familiar to most audiences

as other composers. And to use a little bit of his life story—I was very taken by that. If anybody could do it, it would be Alexei.”

Certainly no other choreographer has shown as much dedication to Shostakovich as Ratmansky, who has set at least 1 1 ballets

to the composer’s music.

To appreciate any music, it’s best to grasp the context of the times in which the composer worked. That’s particularly true of

Shostakovich. Coming of age in Stalinist Russia, he, like all artists, was under scrutiny. He gained celebrity at an early age, and

political expectations followed in the form of requests for compositions that exalted the Soviet state. Often he rebelled, and several

times he was denounced by the state; he walked a tightrope between survival and artistic choice. “Stalin was interested in music

that celebrated everything that was great about Russia, and Shostakovich was at odds with that,” says Music Director and Principal

Conductor Martin West. “He was trying to create music for all time, not just for Russia.”

Ratmansky, though, had Russia in mind when he created Shostakovich Trilogy, according to stager and ABT Ballet Master Nancy

Raffa. “This is an homage to Shostakovich, because of Alexei’s enormous admiration for his talent and for what he symbolizes for

Russian people,” she says. “But it’s also an homage to [Ratmansky’s] heritage. He grew up listening to and loving Shostakovich,

so this was like a gift [to the composer]. And a gift to Russia.”

Permeating these ballets are the most fundamental human emotions: love and euphoria, grief and despair, and deeply,

pervasively, fear—of being watched or followed, or (we assume) disappeared, as so often happened to those in political disfavor

during Shostakovich’s lifetime. The color red is prominent; backdrops offer hints of Stalin-era Russia. Yet all three ballets are

markedly different.

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S Y MP H O N Y # 9P R O G R A M N O T E S by Cheryl A. Ossola

In creating Symphony #9, Raffa says, Ratmansky considered “the time

the piece was written and the emotions behind what was happening in

Shostakovich’s life.” The first principal couple represents Shostakovich

and his wife, supporting each other in a time of great danger; the other

couple represents “the regime, the communist party, the whole Stalin

mentality,” Raffa says. “He wanted them to be almost a caricature,

expressing the sarcasm in parts of the score. But everything is abstract.

He kept saying, ‘There’s no story, but there’s a lot of meaning.’”

West calls Shostakovich’s ninth symphony “so much fun—it goes

by like the wind.” Fun and flashy it is, but it was also was one of the

composer’s acts of rebellion. West explains: “When the war was

finished, it was agreed that he would write a Beethoven’s Ninth type

of thing, to celebrate the beating of the Nazis. He started writing it and

scrapped it.” What he wrote instead—this funny, acerbic symphony—

was interpreted as thumbing his nose at Stalin. “He was in big trouble,”

West says. “They were expecting something triumphal and this is just

a bit of fun. [In places] it’s like he’s mocking Stalin. I don’t know if he

was, but that’s the feeling you get.”

In Ratmansky’s hands, tension underlies the fun, giving the ballet an

edge of fear. The subtext is clear: no one is safe. Raffa tells one couple,

“You’re running away from something. The arm is like a window—look

through it.” Yet the ballet is buoyed by hope, manifested by a solo

principal man Ratmansky calls the Angel. “He’s symbolic of something

beyond our tangible, physical world,” Raffa says. “He’s a guide. Despite

the turmoil that somebody could live [through], there’s always a way

through it. That dancer is symbolic of this.” She tells the Angel dancer

to “come out like you’re attacking all the evil. That means you can’t

touch the ground. Come out like fire.”

There is always, Raffa says, the “guidance of your own integrity, your

value system. Of hope, where there’s perhaps no hope; light where

there’s only darkness.”

C H A MB E R S Y MP H O N YP R O G R A M N O T E S by Cheryl A. Ossola

Chamber Symphony is as close to a narrative ballet as the trilogy

gets. The lead man is Shostakovich and the three principal women

are his loves—the girl he was infatuated with but never made time for,

the wife (and mother of his children) whose death undid him, and the

young wife who shared his later years. The ballet takes the form of a

retrospective—again with the constancy of fear, this time referencing

the persecution of the Jews. (Note the Jewish theme in the music,

and the fragments of folk dancing.) Loss weighs heavily in this ballet—

of loved ones and what Shostakovich risked to be the artist he

wanted to be.

In making this ballet, Ratmansky was responding to the well-

documented fact that Shostakovich’s Chamber Symphony, an

orchestration of his Quartet No. 8, was intensely personal to the

composer. He quotes his own music here more than anywhere else,

and each movement bears an insistent theme—his signature, “DSCH

(D.Sch.),” letters in his name (written in German) that can be played

as musical notes. The piece, which includes part of an old Russian

prison song, was Shostakovich’s personal protest (the dedication

reads, “In Memory of Victims of Fascism and War”), he said. Various

sources claim that he said this music could serve as his epitaph.

The way Principal Dancer Mathilde Froustey sees it, “we are what

Shostakovich wanted to create. There is a kind of double sense—

we are the instruments of Alexei and Shostakovich. There is the

choreography, and there is the music. There is the context of the

creation of this music.” There’s a moment in this ballet when the

Shostakovich character raises a finger in a moment of recognition.

Raffa says it’s as if he’s thinking, “Everything I’ve lived through had

a purpose, a meaning. I can pass peacefully now because I’ve left

something.” In the final tableau, she says, Ratmansky builds an image

that pulls the viewers’ eyes up, to a single woman held high, as if to

say “what he left is monumental. The scene is like a monument to

Shostakovich’s thoughts and ideas, his humanness.”

Both photos: San Francisco Ballet in Ratmansky’s Shostakovich Trilogy // Erik Tomasson


P I A N O C O N C E R T O # 1P R O G R A M N O T E S by Cheryl A. Ossola

Piano Concerto #1 is the most abstract ballet in the trilogy; Ratmansky

is “using the dancers as instruments, creating the music with their

movement,” Nancy Raffa says. Yet there’s visible emotion. “Shostakovich

is extremely emotional,” Raffa says. “You can’t work with his music and

not have that quality in your choreography.”

The music, Concerto No. 1 for Piano, Trumpet, and Strings, is mercurial,

whipping from one mood to another. West describes the piece as “a very

good example of classic proportions where Shostakovich was able to

take off on tangents that only a great comedy genius could do. Especially

the last movement—it goes nuts. Suddenly he slams on a chord out of

nowhere, or he’ll make it sound like he’s going to trill into a little Mozart

cadenza [embellishment] and then doesn’t.” That frantic quality in the

last movement may have roots in Shostakovich’s youth, when he played

piano accompaniment for silent movies. “He was able to make stuff up,”

West says. “That’s almost how this concerto is—it’s a ridiculous play

on everything.” Yet it has “all styles of music, very deep and serious,”

he says, “and the slow movements are beautiful.”

Principal Dancer Vitor Luiz says he loves the contrast in the music,

especially during a solo he dances. “The music shifts to this very

energetic movement—it’s like showing off—and then it goes back to

quiet. It’s theatrical. The image Nancy gave us was of looking out a

window to see your future, but you don’t see any future there. That

already gives you the idea why you do that solo—because you have

nowhere to go,” he says. “If you do this solo right, it will touch

people’s souls.”

What’s remarkable about dancing Ratmansky’s ballets, Luiz says, is that

“they make you feel good.” Ratmansky shared “his knowledge and his

deep attention to details. He said, ‘It’s like fine cuisine. You have to put

in all these ingredients, and they are all measured in grams. You have

to use all that.’

“The image Alexei wanted is a prisoner in a country,” continues Luiz,

“the artists who couldn’t get out. Nancy said, ‘Imagine that you cannot go

back to Brazil, and your whole family is there—your daughter, everyone—

and you can’t ever talk to them again.’ And so in this moment that’s what

you think. You’re trying to find a solution or a way out, and you can’t.

Every movement has a meaning. Maybe that’s why you feel good

afterward—because you feel like you accomplished something

technically but also artistically.”

C R E AT I V E T E A M

DMITRI SHOSTAKOVICH Composer

Dmitri Shostakovich (1906–75), born in St. Petersburg, Russia, was a

pianist and influential composer. He studied piano with his mother and

attended Petrograd Conservatory under the direction of Alexander

Glazunov. Shostakovich’s 1925 graduation composition, Symphony No. 1,

catapulted him to prominence. Influenced by Igor Stravinsky and Sergei

Prokofiev, Shostakovich developed a unique style of music, favoring

stylistic choices that placed him at odds with Stalin’s regime. His huge

body of work—more than 40 symphonies, concertos, and chamber

works, 22 piano works, plus ballets, operas, and film scores—

is performed widely and frequently throughout the world.

ALEXEI R ATMANSK Y Choreographer

Alexei Ratmansky, currently artist in residence at American Ballet

Theatre, is an internationally acclaimed Russian choreographer who has

revitalized narrative ballet through his thoughtful remounting of classics

and his shorter, more abstract works. Born in St. Petersburg, Russia,

he trained at the Bolshoi Ballet School in Moscow and performed as a

principal dancer with Ukrainian National Ballet, Royal Winnipeg Ballet,

[ I N S TA NT E X PE RT >> S H O S TA KOV I C H A N D B A L L E T ]

When you think ballet music, you probably think Russian. Tchaikovsky, Glazunov, Stravinsky, Prokofiev: much of the

greatest ballet music of the 19th and 20th century came from Russia. Yet we don’t often think of Dmitri Shostakovich

in this category, even though he’s known as one of the greatest composers of the 20th century.

But Shostakovich did write music for ballets—three, in fact: The Golden Age (1930), The Bolt (1931), and The Bright

Stream (1935). All three were censored in Soviet Russia and therefore rarely performed following their premieres.

Choreographer Alexei Ratmansky has done much to revive the idea of Shostakovich as a composer well-suited to ballet,

choreographing to eleven of his works, including the three ballets that comprise the Shostakovich Trilogy. He’s even

made new versions of The Bolt and The Bright Stream for the Bolshoi Ballet, bringing these ballets back to life.


and Royal Danish Ballet. An invitation to create a work for the Bolshoi

Ballet led him to become artistic director of that company in 2004. As

Artistic Director, Ratmansky remounted several Soviet-era ballets, most

notably The Bright Stream, for which he earned a Critics’ Circle National

Dance Award in London. Bolshoi Ballet was also named “Best Foreign

Company” by The Critics’ Circle twice under his direction.

San Francisco Ballet commissioned Ratmansky’s first American

premiere, Le Carnaval des Animaux in 2003 and has since acquired

seven additional works in the repertory. He has also choreographed

ballets for the Mariinsky Ballet, Paris Opera Ballet, Dutch National Ballet,

New York City Ballet, The Australian Ballet, and many others. Ratmansky

joined American Ballet Theatre as artist in residence in 2009. Named

a 2013 MacArthur Foundation Fellow, Ratmansky has also served as

a choreographic mentor to SF Ballet Corps de Ballet member Myles

Thatcher through the Rolex Mentor & Protégé Arts Initiative. In 2014,

Ratmansky won his second Benois de la Danse award for

Shostakovich Trilogy.

NANCY R AFFA Stager

Nancy Raffa, a former dancer and current ballet mistress at American

Ballet Theatre (ABT), has worked closely with choreographer Alexei

Ratmansky since he became artist in residence in 2009. Born in Brooklyn,

New York, Raffa trained with Madame Gabriela Darvash. When she was

15 years old, she became the youngest and first American female to

win the Gold Medal at the Prix de Lausanne competition in Switzerland.

After joining Makarova and Company on Broadway, Raffa became a

member of the corps de ballet of ABT. She also danced as a principal

with Ballet de Santiago, Ballet National Française de Nancy, and Miami

City Ballet. She retired from dancing to become a teacher, coach, and

ballet mistress. Raffa has worked closely with choreographers Twyla

Tharp and Ratmansky and has set many of Ratmansky’s works for

ABT on companies around the globe.

GEORGE TSYPIN Scenic Designer

George Tsypin, a sculptor, an architect, and a designer for opera,

film, and video, studied architecture in Moscow and theater design in

New York. His designs for opera have been seen at Opéra de Bastille

in Paris, Covent Garden in London, and the Metropolitan Opera in

New York. He has worked with renowned theatrical directors such as

Julie Taymor and Peter Sellars. On Broadway, Tsypin designed The Little

Mermaid and Spider-Man: Turn Off the Dark. His work also includes

designs for film, television, concerts, exhibitions, and installations;

recently, he designed and directed the opening ceremony of the

2014 Olympic Games in Sochi.

KESO DEKKER Costume Designer

Dutch artist Keso Dekker’s career has ranged from painting to

designing (spaces, graphics, and museum exhibitions) to writing

(on art, design, fashion, and dance). His theatrical work encompasses

more than 40 years of scenic and costume design, largely for dance,

in more than 500 productions. Dekker’s major dance collaborators

are choreographers Martin Schläpfer (Tanzsuite, Forellenquintett),

Hans van Manen (Black Cake, Solo, and Variations for Two Couples),

and Alexei Ratmansky (Souvenir d’un Lieu Cher and Shostakovich Trilogy).

Dekker’s recent projects include an exhibition of 17th-century gold and

silver at Amsterdam’s Rijksmuseum, collaborations with Schläpfer and

van Manen in Düsseldorf and Vienna, and works by Ratmansky

at New York City Ballet and The Royal Ballet in London.

JENNIFER TIPTON Lighting Designer

Jennifer Tipton is an internationally known, award-winning lighting

designer who works in dance, theater, and opera. Born in Columbus,

Ohio, she graduated from Cornell University and learned dance lighting

from Thomas Skelton. Her recent work in dance includes Liam Scarlett’s

The Age of Anxiety for The Royal Ballet and Alexei Ratmansky’s

Shostakovich Trilogy for San Francisco Ballet and American Ballet

Theatre, as well as Paul Taylor’s American Dreamer. Tipton, who is

principal lighting designer for the Paul Taylor Dance Company, also

teaches lighting at the Yale School of Drama. She won the 1977 Tony

Award for Best Lighting Design for The Cherry Orchard, the 1989 Tony

Award for Jerome Robbins’ Broadway, and the Drama Desk Award for

Outstanding Lighting Design twice. Tipton received the Dorothy and

Lillian Gish Prize in 2001, the Jerome Robbins Prize in 2003, and the

Mayor’s Award for Arts and Culture in New York City in April 2004.

In 2008 she was made a United States Artists “Gracie” Fellow and

a MacArthur Fellow.

San Francisco Ballet in Ratmansky’s Shostakovich Trilogy // © Erik Tomasson

MAY 22–MAY 24, 2019

PERFORMANCE TICKETS START AT $29.

On Wednesday, May 22, San Francisco Ballet School launches its first annual Spring Festival. Formerly called Student Showcase, the SF Ballet School Spring Festival will include three nights of unique performances, demonstrations, and interviews. The performances will feature Helgi Tomasson’s Ballet d’Isoline; a new work choreographed by AXIS Dance Company Artistic Director Marc Brew, quicksilver; excerpts from two Jiří Kylián ballets, Sarabande and Falling Angels, as well as premieres by SF Ballet School student choreographers.

Proceeds from the opening night dinner will provide support for the School’s scholarship and financial aid programs.

SPRING FESTIVAL PERFORMANCE AND DINNER

DATE | Wednesday, May 22, 2019

TIME | Performance at 6 pm, followed by dinner

VENUES | Yerba Buena Center for the Arts Theater and Four Seasons Hotel San Francisco

EVENT CHAIR | Ms. Catherine Bergstrom

SF BALLET SCHOOL ON STAGE PERFORMANCE DATES

Wednesday, May 22 at 6 pm

Thursday, May 23 at 7:30 pm

Friday, May 24 at 7:30 pm

BUY TICKETS NOW SFBALLET.ORG/SCHOOLFESTIVAL415 865 2000

San Francisco Ballet School Students at 2018 Student Showcase // © Lindsay Thomas. Design by Cheree Berry Paper


SAN FRANCISCO BALLET ORCHESTRAFor more than 40 years, the Grammy Award–winning San Francisco Ballet Orchestra has made the music that propels our movement. With a core group of 49 regular members that expands to 65 players for certain productions, the Orchestra’s repertory extends from classics such as Tchaikovsky’s Swan Lake and Nutcracker to the more abstract and contemporary of ballet and symphonic works. Our musicians are as brilliant as individual artists as the orchestra is as an ensemble. Please visit sfballet.org/orchestra for photos of each SF Ballet Orchestra musicians.

MUSIC DIRECTOR & PRINCIPAL CONDUCTOR

Martin West

GUEST CONDUCTOR

Ming Luke

**Seasonal Substitute

*Extra Player

VIOLIN I

Cordula Merks, Concertmaster

Heeguen Song, Associate Concertmaster

Beni Shinohara, Assistant Concertmaster

Heidi Wilcox

Robin Hansen

Brian Lee

Mariya Borozina

Wenyi Shih**

Maya Cohon*

Jeremey Preston*

Jennifer Hsieh*

Laura Keller*

VIOLIN II

Ani Bukujian, Principal

Craig Reiss, Associate Principal

Jeanelle Meyer, Assistant Principal

Marianne Wagner

Rebecca Jackson**

Karen Shinozaki Sor**

Jennifer Cho*

Julie Kim*

George Hayes*

VIOLA

Yi Zhou, Principal

Anna Kruger, Associate Principal

Joy Fellows, Assistant Principal

Caroline Lee

Paul Ehrlich

Elizabeth Prior*

Katherine Johnk*

Natalia Vershilova*

CELLO

Eric Sung, Principal

Jonah Kim, Associate Principal

Victor Fierro, Assistant Principal

Thalia Moore

Ruth Lane**

Mark Votapek*

CONTRABASS

Steve D’Amico, Principal

Shinji Eshima, Associate Principal

Jonathan Lancelle, Assistant Principal

Mark Drury

FLUTE

Barbara Chaffe, Principal

Julie McKenzie

Stephanie McNab*

Leslie Chin*

PICCOLO

Julie McKenzie

OBOE

Laura Griffiths, Principal

Marilyn Coyne

James Moore*

ENGLISH HORN

Marilyn Coyne

CLARINET

Natalie Parker, Principal

Steve Sanchez**

Matthew Boyles*

BASS CLARINET

Steve Sanchez

ALTO SAXOPHONE

David Henderson

BASSOON

Rufus Olivier, Principal

Patrick Johnson-Whitty

Shawn Jones*

CONTRABASSOON

Patrick Johnson-Whitty

HORN

Kevin Rivard, Principal

Keith Green

Brian McCarty, Associate Principal

William Klingelhoffer

TRUMPET / CORNET

Adam Luftman, Principal

Joseph Brown

John Pearson*

Scott Macomber*

TROMBONE

Jeffrey Budin, Principal

Gabe Cruz**

BASS TROMBONE

Scott Thornton, Principal

TUBA

Peter Wahrhaftig, Principal

TIMPANI

James Gott, Principal

PERCUSSION

David Rosenthal, Principal

Todd Manley*

Tyler Mack*

Tracy Davis*

Victor Avdienko*

HARP

Annabelle Taubl, Principal

PIANO

Natal’ya Feygina

CELESTE

Mungunchimeg Buriad*

THEREMIN

Carolina Eyck

ORCHESTRA PERSONNEL MANAGER & MUSIC ADMINISTRATOR

Tracy Davis

MUSIC LIBRARIAN

Matthew Naughtin

MAY 22–MAY 24, 2019

PERFORMANCE TICKETS START AT $29.

On Wednesday, May 22, San Francisco Ballet School launches its first annual Spring Festival. Formerly called Student Showcase, the SF Ballet School Spring Festival will include three nights of unique performances, demonstrations, and interviews. The performances will feature Helgi Tomasson’s Ballet d’Isoline; a new work choreographed by AXIS Dance Company Artistic Director Marc Brew, quicksilver; excerpts from two Jiří Kylián ballets, Sarabande and Falling Angels, as well as premieres by SF Ballet School student choreographers.

Proceeds from the opening night dinner will provide support for the School’s scholarship and financial aid programs.

SPRING FESTIVAL PERFORMANCE AND DINNER

DATE | Wednesday, May 22, 2019

TIME | Performance at 6 pm, followed by dinner

VENUES | Yerba Buena Center for the Arts Theater and Four Seasons Hotel San Francisco

EVENT CHAIR | Ms. Catherine Bergstrom

SF BALLET SCHOOL ON STAGE PERFORMANCE DATES

Wednesday, May 22 at 6 pm

Thursday, May 23 at 7:30 pm

Friday, May 24 at 7:30 pm

BUY TICKETS NOW SFBALLET.ORG/SCHOOLFESTIVAL415 865 2000



SAN FRANCISCO BALLET STAFFHELGI TOMASSON

ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER

GLENN MCCOY EXECUTIVE DIRECTOR

A R T I S T I C

Ricardo Bustamante, Felipe Diaz, Ballet Masters & Assistants to the Artistic Director

Betsy Erickson, Anita Paciotti, Katita Waldo, Ballet Masters

Yuri Possokhov, Choreographer in Residence

Amelia Bear, Artistic Administrator

Alan Takata-Villareal, Logistics Manager

Mateo Santos Perry, Assistant to the Artistic Staff

O P E R A T I O N S

DEBRA BERNARD, General Manager

Juliette LeBlanc, Company Manager

Amy Hand, Operations Manager

P R O D U C T I O N

CHRISTOPHER DENNIS, Production Director

Daniel Thomas, Technical Manager

Kate Share, Manager of Wardrobe, Wig, Make-up & Costume Construction

Jim French, Lighting Supervisor

Jane Green, Production Stage Manager

Kathryn Orr, 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

Megan Gulla, Head of Women’s Wardrobe

Paige Howie, Head of Men's Wardrobe

Richard Battle, Head of Hair & Make-up

Thomas Richards-Keyes, Assistant Head of Hair & Make-up

M U S I C

MARTIN WEST, Music Director & Principal Conductor

Mungunchimeg Buriad, Natal'ya Feygina, Nina Pinzarrone, Company Pianists

Tracy Davis, Orchestra Personnel Manager & Music Administrator

Matthew Naughtin, Music Librarian

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

DARIN CONLEY-BUCHSIEB, Human Resources Director

Jennifer French Kovacevich, Interim Board Relations Manager

Kayla Harris, Human Resources Generalist

Katharine Chambers, Assistant to Senior Executive Staff

D E V E L O P M E N T

DANIELLE ST.GERMAIN-GORDON, Chief Development Officer

Elizabeth Lani, Deputy Director of Development /Planned Giving

Operations & Membership

Laurel Skehen, Senior Manager, Membership & Operations

Hannah Young, Donor Communications Manager

Ashley Rits, Development Operations Manager

Juanita Lam, Development Coordinator

Megan Ohls, Development Operations Assistant

Jim Sohm, Research Manager

Institutional Giving

Elizabeth Luu, Associate Director of Development, Institutional Giving

Colette Whitney, Corporate Giving Manager

Stella Ji, Institutional Giving Intern

Special Events

Ingrid Roman, Associate Director of Development, Events

Emma Lundberg, Special Events Coordinator

Meg Sullivan, Special Events Coordinator

Niki Naftzger, Events Associate & Auxiliary Liaison

Individual Giving

Sarah Warner, Associate Director of Development, Individual Giving

Brent Radeke, Major Gifts Officer

Ari Lipsky, Senior Manager, Individual Giving

Tilly Chiles, Individual Giving Officer

Haley O’Neil, Donor Relations Manager

Aja Lathan, Donor Relations Associate

M A R K E T I N G & C O M M U N I C A T I O N S

JULIE BEGLEY, Chief Marketing Officer

You You Xia, Director of Communications

Mary Goto, Associate Director, Analytics & Relationship Marketing

Valerie Megas, Senior Manager, Retail Operations

Monica Cheng, Senior Manager, Graphic Design

Caitlin Sims, Senior Manager, Content & Editorial

Matthew Donnelly, Video Production Manager

Jane Ann Chien, Web & Digital Platforms Manager

Jillian Vasquez, Marketing & Promotions Manager

Abby Masters, Marketing Operations Manager

Kate McKinney, PR & Communications Manager

Nannette Mickle, Group Sales Representative

Emily Munoz, Relationship Marketing Coordinator

Rachel Bauer, Media Asset Administrator

Francis Zhou, Graphic Design Specialist

T I C K E T S E R V I C E S

BETSY LINDSEY, Director of Ticket & Patron Services

Jennifer Peterian, Senior Manager, Ticket & Patron Services

Mark Holleman, Sales & Service Manager

Elena Ratto, Patron Services Specialist

Megan Quintal, Ticket Services Database Specialist

Arielle Hazan, Jericho Lindsey, Patricia Pearson, Michelle Schafer, Cherryl Usi, Ticket Services Associates

F I N A N C E

KEVIN MOHR, Chief Financial Officer

Kristin Klingvall, Controller

Valerie Ruban, Accounting Supervisor

Evangelina Maravilla, Payroll Manager

Matthew Czarnecki, Senior Accountant

Jonathan Creecy, Leanna Wright, Staff Accountants

F A C I L I T I E S

NATHAN BRITO, Facilities Manager

Scott Christenson, Facilities Supervisor

Adrian Rodriguez, Facilities Coordinator

Todd Martin, Stanley Wong, Facilities Assistants

Neil Miller, Weekend Facilities Assistant

Tamara de la Cruz, Nicole Drysdale, Yana Vincent, Receptionists

I N F O R M A T I O N T E C H N O L O G Y

MURRAY BOGNOVITZ, Director of Information Technology

Stacy Desimini, IT Operations & Project Manager

Karen Irvin, Application Administrator & Help Desk Coordinator

Josh Marshall, Web Administrator

Jiapeng Jiang, IT Specialist

F R O N T O F H O U S E

JAMYE DIVILA, House Manager

Marialice Dockus, Head Usher

Rodney Anderson, Danica Burt, Frank Chow, Laurent De La Cruz, Martin Dias, Jonathan S. Drogin, Chip Heath, Elaine Kawasaki, Eileen Keremitsis, Ryszard Koprowski, Bill Laschuk, Sharon Lee, Marilyn Leong, Lenore Long, Doug Luyendyk, Leontyne Mbele-Mbong, Sam Mesinger, Dale Nedelco, Wayne Noel, Beth Norris, Jan Padover, Julie Peck, Robbie Remple, Bill Repp, Rilla Reynolds, Robyn Sandberg, Kelly Ann Smith, Melissa Stern, Theresa Sun, Claire Tremblay, Richard Wagner, Steve Weiss, Elaine Yee, Ushers

E D U C A T I O N & T R A I N I N G

San Francisco Ballet School

HELGI TOMASSON, Artistic Director

PATRICK ARMAND, Director School Faculty

Patrick Armand

Kristi DeCaminada

Jaime Diaz, Ballet & Boys Strengthening

Karen Gabay

Jordan Hammond-Tilton

Tina LeBlanc

Jeffrey Lyons

Ilona McHugh

Pascal Molat, Ballet & Trainee Program Assistant

Anne-Sophie Rodriguez

Henry Berg, Conditioning

Brian Fisher, Dexandro Montalvo, Contemporary Dance

Dana Genshaft, Ballet, Contemporary Repertoire & Conditioning

Jamie Narushchen, Daniel Sullivan, Music

Jennie Scholick, PhD., Dance History

Cecelia Beam, Adult Ballet & Dance for Individuals with Parkinson’s Disease

Lisa Giannone, Conditioning Class Consultant

Sofiane Sylve, Principal Guest Faculty

Julio Bocca, Monique Loudieres, 2018–19 Guest Faculty

School Pianists

Jamie Narushchen, School Pianist Supervisor, Lee R. Crews Endowed Pianist

Ella Belilovskaya, Julia Ganina, Ritsuko Micky Kubo, Daniel Sullivan, Katelyn Tan, Sky Tan, Galina Umanskaya, Linli Wang, Billy Wolfe, School Pianists

Education & Training Administration

ANDREA YANNONE, Director of Education & Training

Jennie Scholick, PhD., Associate Director of Audience Engagement

Christina Gray Rutter, Associate Director of School Administration

Jasmine Yep Huynh, Associate Director of Youth and Community Programs

Tai Vogel, School Registrar and Summer Session Coordinator

Karen Maloney, School Programs Coordinator

Aurelia Moulin, School Logistics Coordinator

Amanda Alef, Education Coordinator

Miles Petty, Administrative Assistant, Education & Training

Pamela Clark, Education Assistant

Alyssa Puleo, School Assistant

Cecelia Beam, Audience Engagement Coordinator

Naima McQueen, Residence Manager

Matt McCourt, Kayla Murkison, Resident Assistants

Leslie Donohue, Chris Fitzsimons, School Physical Therapists

Dance in Schools & Communities Teaching Artists

Alisa Clayton

Sammay Dizon

Cynthia Pepper

Phoenicia Pettyjohn

Jessica Recinos

Joti Singh

Genoa Sperske

Maura Whelehan

Dance in Schools & Communities Accompanists

David Frazier

Omar Ledezma

Zeke Nealy

Wade Peterson

Bongo Sidibe

C O M P A N Y P H Y S I C I A N S

Richard Gibbs, M.D. & Rowan Paul, M.D., Supervising Physicians

Michael Leslie, PT, Director, Dancer Wellness Center

Kristin Wingfield, M.D., Primary Care Sports Medicine

Frederic Bost, M.D., On-site Orthopedist

Peter Callander, M.D., Keith Donatto, M.D., Jon Dickinson, M.D., Orthopedic Advisors to the Company

Karl Schmetz, Consulting Physical Therapist

Active Care, Lisa Giannone, Director, Off-site Physical Therapy & Conditioning Classes

Leonard Stein, D.C., Chiropractic Care

Henry Berg, Rehabilitation Class Instructor

Gabrielle Shuman, Wellness Program Manager

The artists employed by San Francisco Ballet are members of the American Guild of Musical Artists, AFL-CIO, the Union of professional dancers, singers, and staging personnel in 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 Adler & Colvin; Fallon Bixby Cheng & Lee; Fettmann Ginsburg, PC; Blue Skies Immigration Services; Epstein Becker & Green, PC; Littler Mendelson, PC; Miller Law Group; and Pillsbury Winthrop Shaw Pittman LLP. Audit services provided by Grant Thornton LLP. Insurance brokerage services provided by DeWitt Stern Group.

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. Susan Lewis, Dr. Jane Denton, Dr. Rémy Aridizzone, Christine Corpus, and the Physical Therapy Department for generously providing their services.


DONOR NEWSTHE BERNARD OSHER FOUNDATION – SPONSORING PROGRAM 06: SPACE BETWEEN

For more than 35 years, The Bernard Osher Foundation has been vital to San Francisco Ballet’s growth into one of the world’s leading ballet companies. The Foundation’s sponsorship of Program 06: Space Between allows us to present a glimpse into the future of ballet with Justin Peck’s Rodeo: Four Dance Episodes, a modern take on Aaron Copland’s famous score; Arthur Pita’s Björk Ballet, an encore from 2018’s Unbound Festival; and the world premiere of Liam Scarlett’s Die Toteninsel.

The Osher Foundation has generously supported SF Ballet’s new work and touring initiatives through endowed funds. Established in 2006, The Bernard Osher Foundation Touring Fund helps SF Ballet to present celebrated works around the world. Created in 2015, Osher New Work Fund ensures SF Ballet’s ability to commission, acquire, and perform vibrant ballets that expand and invigorate the art form of classical dance.

“The Bernard Osher Foundation is enthusiastic in its support of SF Ballet,” notes Mary Bitterman, Foundation president. “It has committed significant resources over many years to the Company’s growth through support for ongoing season programs, new work, and presentations in other US cities and abroad.”

SF Ballet is grateful for The Bernard Osher Foundation’s multifaceted support. We are fortunate to call Barbro and Bernard Osher long-standing patrons and dedicated friends and we thank them for their commitment to SF Ballet and the arts.

RECOGNIZING HEWLETT FOUNDATION

For decades, The William and Flora Hewlett Foundation has been an integral part of the San Francisco Ballet. Their enduring sponsorship has supported the expansion of SF Ballet School’s Education programs, the development of diverse audiences, and the creation of new works through The William and Flora Hewlett Foundation New Works Fund.

The William and Flora Hewlett Foundation is a nonpartisan, private charitable foundation that advances ideas and supports institutions to promote a better world. The Foundation’s Performing Arts Program makes grants to sustain artistic expression and encourage public engagement in the arts in the San Francisco Bay Area; to give California students equitable access to high-quality, sequential arts education opportunities; and to provide necessary resources to help organizations and artists be effective in their work. Its Hewlett 50 Arts Commissions supports the creation and premiere of 50 new works of exceptional quality and enduring value in communities across the Bay Area.

Each year the foundation awards more than $20 million in grants to more than 200 performing arts grantees. As a Great Benefactor of San Francisco Ballet, the Foundation’s continued commitment to the performing arts helps make our numerous artistic programs possible.

SF BALLET AUXIL IARY FASHION SHOW

FEATURED JASON WU

This year, the San Francisco Ballet Auxiliary made a huge splash with the long-awaited return of the Fashion Show fundraising event. We were thrilled to partner with Sam Malouf Authentic Luxury, with UBS as a sponsor, on this very special event that featured acclaimed designer Jason Wu against the stunning backdrop of the Bently Reserve.

With a fresh, new format, guests with VIP tickets joined Jason Wu for an intimate dinner the night before the show and, along with Grand Benefactor and Patron supporters, attended the Runway Show on March 20. The event grossed $350,000 to benefit a wide-range of San Francisco Ballet initiatives, including new works, scholarships for San Francisco Ballet School students, and community outreach programs.

Runway during 2019 San Francisco Ballet Auxiliary Fashion Show // © Drew Altizer

PROGRAMS 07 / 08 | 415 865 2000 | 45

Chelsea Clinton, Alexandra Boiger, Yuan Yuan Tan with SF Ballet School student guests // © Arthur Kobin for Drew Altizer Photography

CHELSEA CL INTON CELEBRATES HER BOOK SHE PERSISTED AROUND THE WORLD ,

WHICH FEATURES YUAN YUAN TAN, WITH SF BALLET

In an intimate brunch and discussion on March 2 with Chelsea Clinton, author of the children’s book She Persisted Around

the World, a clear theme emerged: the importance of women’s voices and women’s stories to young women. Joined by book illustrator Alexandra Boiger and SF Ballet Principal Dancer Yuan Yuan Tan (featured in the book), Clinton covered a wide range of topics, from immigration to bullying. Proceeds from the event, moderated by Marisa Lagos of KQED and held at the Fairmont Hotel San Francisco, will fund five scholarships for girls to attend SF Ballet School.

“We have to do more,” said Clinton, “to tell more stories and center more stories around women.” She recalled being inspired as a teenager by the accomplishments of Sally Ride and Helen Keller. When it came to finding books for her own children, however, she noticed a lack of stories about women told from a female perspective. This realization spurred her to write the children’s book She Persisted, in which she profiled 13 tenacious and accomplished American women. The success of this book led to the second book, She Persisted Around the World, in which Tan is profiled.

“It’s really important that we share stories of inspiring women with our daughters and our sons,” said Clinton.

Boiger and Tan also shared their experiences at the brunch, including the barriers they felt as immigrants. Tan recounted noticing her physical differences from other dancers and learning to embrace how these differences made her dancing unique. All three women spoke candidly and, despite the weight of the topics, the mood in the room felt inspired and invigorated. By supporting SF Ballet, attendees were directly contributing to developing the artistic voices of young women.

She Persisted: SF Ballet Breakfast Celebrating Women’s History Month 2019 // © Arthur Kobin for Drew Altizer Photography

FP 9


DONOR NEWS CONTINUED

ARLENE SULL IVAN BEQUEST

Arlene Sullivan understood the revolutionary way dance education can transform young lives, an awareness illustrated through her support and leadership as a Trustee of SF Ballet. Though she passed away last fall, her commitment to SF Ballet continues to impact our students and community members. We are deeply privileged to now call Sullivan a Great Benefactor through her generous bequest of $1 million. This gift, in accordance with her desires, will equally further three causes–San Francisco Ballet School, the Center for Dance Education, and the SF Ballet Annual Fund.

The designations of her gift reflect Sullivan’s love for this organization alongside her commitment to breaking down socioeconomic and cultural barriers to ballet. In addition to her work as a Trustee, she served on both the School and Education committees. Her support of the SF Ballet School helped advance its work as a pipeline of talent for the Company, and her advocacy for the Dance in Schools and Communities program recognized that bringing ballet directly to the public schools enriches education for all. She also understood the importance of flexible, unrestricted funds for SF Ballet, which she acknowledged through her thoughtful gift to the annual fund.

Artistic Director and Principal Choreographer Helgi Tomasson remembers Sullivan as “a compassionate human and incredible advocate for the art and impact of SF Ballet.” While all here miss her passion and dedication, we are honored that her legacy lives on through the lives her gift will impact. We invite you to join Sullivan in choosing SF Ballet as a home for your legacy through a planned gift. Sullivan’s memory as an advocate for the SF Ballet community is one that we are honored to uphold; let your memory live on in this way as well.

SAN FRANCISCO BALLET SCHOOL 2019 SPRING FESTIVAL : MAY 22–24 , 2019

Did you know that San Francisco Ballet School provides $1.2 million in scholarships each year to deserving young artists? Not only does the School provide formative experiences through quality ballet training, but it provides a critical pipeline of talent for the Company. Nearly 65 percent of Company members received training at SF Ballet School.

The largest single source of support for these efforts is the annual Student Showcase, which has an exciting new format and name this year: Spring Festival. On Wednesday, May 22, 2019, San Francisco Ballet School’s first annual Spring Festival will launch, including three unique evenings of performances, a dinner on opening night, and new interactive activities with opportunities to learn about ballet. Pre-performance, there will be ballet demonstrations by the School’s Parkinson’s Dance Class and Pre-Ballet students. During intermission, you will have the opportunity to hear from student choreographers and School Faculty in onstage meet-the-artist interviews. In the lobby, educational pop-ups will provide you with the chance to learn more about School history, tutus, pointe shoes, and more.

The May 22 dinner will be held at the Four Seasons Hotel San Francisco, following the first performance at Yerba Buena Center for the Arts Theater. SF Ballet is grateful to Bingham, Osborn & Scarborough LLC, Dodge & Cox, and KPMG for their support of this event. Proceeds will provide support for the School’s scholarship and financial aid programs.

Event Chair: Ms. Catherine Bergstrom

SF Ballet School ON STAGE Performance Dates

Wednesday, May 22 at 6 pm Thursday, May 23 at 7:30 pm Friday, May 24 at 7:30 pm

BUY TICKETS NOW

Spring Festival Performance and Dinner Tickets: sfballet.org/schoolfestival

Performance-only tickets for SF Ballet School ON STAGE: 415 865 2000

Arlene Sullivan and Jim Sullivan

[email protected] • 510-525-7057 • www.barbarafracchia.com

Painting #1 (left) and Painting #2 (right) from The Realm of The Little Mermaid, 12 × 24, oil on canvas

Ballet and Opera Paintings by

BARBARA FRACCHIA

http://barbarafracchia.com

2019 REPERTORY SEASONSAN FRANCISCO BALLET SEASON SPONSORS

P R O G R A M O 1

Don Quixote

LEAD SPONSORS

Margaret and Will Hearst

Diane B. Wilsey

MAJOR SPONSOR

Anonymous

SPONSOR

James C. Gries

P R O G R A M O 2

Divertimento No. 15

MAJOR SPONSOR

Catherine and Mark Slavonia

SPONSOR

ENCORE!

Appassionata

LEAD SPONSOR

Kelsey and David Lamond

MAJOR SPONSORS

Kathleen Grant, M.D. and

Thomas Jackson, M.D.

Mrs. Joyce L. Stupski

SPONSOR

Karen S. Bergman

Hurry Up, We're Dreaming

MAJOR SPONSOR

Anonymous

P R O G R A M O 3

The Fifth Season

LEAD SPONSOR

Fang and Gary Bridge

MAJOR SPONSOR

Sue and John Diekman

SPONSOR

H. B. and Lucille Horn Foundation

Snowblind

LEAD SPONSOR

Randee Seiger

MAJOR SPONSOR

Nancy A. Kukacka

SPONSORS

Larissa Roesch and Calder Roesch

SF Ballet Allegro Circle

Etudes

SPONSOR

John G. Capo and Orlando Diaz-Azcuy

P R O G R A M O 4

The Sleeping Beauty

LEAD SPONSORS

Mr. James D. Marver

Judy C. Swanson

SF Ballet Auxiliary

MAJOR SPONSORS

Innovation Global Capital

Elaine Kartalis

Mr. and Mrs. James C. Katzman

Richard Thalheimer Family

SPONSOR

Joseph and Marianne Geagea

P R O G R A M O 5

Your Flesh Shall Be a Great Poem

MAJOR SPONSOR

Brenda and Alexander Leff

SPONSORS

Kacie and Michael Renc

O.J. and Gary Shansby

Bound To

LEAD SPONSORS

Sonia H. Evers

Alison and Michael Mauzé

Denise Littlefield Sobel

MAJOR SPONSOR

David and Vicki Cox

John and Amy Palmer

SPONSOR

Alex and Carolyn Mehran

“. . . two united in a single soul . . .”

LEAD SPONSORS

Athena and Timothy Blackburn

Yurie and Carl Pascarella

P R O G R A M O 6

PROGRAM SPONSOR

The Bernard Osher Foundation

Rodeo: Four Dance Episodes

MAJOR SPONSOR

Kara and Charles Roell

SPONSORS

Almaden

BRAVO

Die Toteninsel

LEAD SPONSORS

Ms. Laura Clifford

Shelby and Frederick Gans

Beth and Brian Grossman

Mary Jo and Dick Kovacevich

Christine Russell and Mark Schlesinger

Björk Ballet

MAJOR SPONSORS

Hannah and Kevin Comolli


P R O G R A M O 7

The Little Mermaid

LEAD SPONSORS

Ms. Laura Clifford

Cui Lihong and Wang Wei

MAJOR SPONSORS

Chaomei Chen and Dr. Yu Wu

In Memory of Carole Demsky

Drs. Richard D. and Patricia Gibbs

Jim and Cecilia Herbert

Marie and Barry Lipman

Mrs. Henry I. Prien

SPONSOR

Brian and Rene Hollins

P R O G R A M O 8

Shostakovich Trilogy

LEAD SPONSORS

Mr. Richard C. Barker

Teri and Andy Goodman

Mr. and Mrs. John S. Osterweis

S A T U R D A Y N I G H T

S U B S C R I P T I O N S E R I E S

Lucy and Fritz Jewett Saturday Night Series

Bound To© by Christopher Wheeldon


T H I S I S P A S S I O N 2019 Opening Night Gala

PRESENTING SPONSOR Osterweis Capital Management

PERFORMANCE SPONSOR Laura Clifford, in memory of Erna Clifford

BENEFACTOR DINNER SPONSOR KPMG

PATRON DINNER SPONSOR JPMorgan Chase & Co.

GRAND BENEFACTOR RECEPTION SPONSOR Shreve & Co.

SPARKLING STROLL SPONSOR Brooks Brothers

WINE AND SPARKLING WINE SPONSOR Gloria Ferrer Caves & Vineyards

APÉRITIF SPONSOR Lillet

BEER SPONSOR Fort Point Beer Company

S E N S O R I U M

SPONSOR

ballerina.io

G E N E R A L

E D U C A T I O N & T R A I N I N G

Additional support is provided by Gap Foundation, U.S. Bank Foundation, and the Zellerbach Family Foundation.

The Dance in Schools and Communities program is supported by The Charles Henry Leach, II Fund, an advised fund of the Silicon Valley Community Foundation.

The Student Matinee Series is supported by the Gaia Fund of the San Francisco Ballet Endowment Foundation.

Lead Sponsors of San Francisco Ballet’s Education Programs

San Francisco Ballet gratefully acknowledges San Francisco Grants for the Arts, The William and Flora Hewlett Foundation, and the National Endowment for the Arts for their support.

Official Gym of San Francisco Ballet Media Sponsor

Classes at San Francisco Ballet School are serious fun, where children are introduced to the fundamentals of classical ballet. Exposure to ballet training reinforces important life skills like creativity, discipline, and team participation— all in a safe, fun, nurturing environment.

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More InformationSFBALLET.ORG/SCHOOL

LEARN. DANCE. GROW.SAN FRANCISCO BALLET SCHOOL

Summer 2019

Ballet ClassesAges 4–13

2019–20 School Year

Ballet TrainingAges 8 and up

Pre-BalletAges 4–7


GREAT BENEFACTORSOur most loyal donors are dedicated to supporting exquisite art and understand that a contribution to San Francisco Ballet is an investment in the cultural life of the Bay Area. Our growth and evolution as a company and school is due in large part to the steadfast and generous support of patrons in the Bay Area and beyond. In 2005, we created the honor of Great Benefactor to recognize donors whose cumulative giving to SF Ballet is $1 million or more.

$ 1 0 , 0 0 0 , 0 0 0 A N D A B O V E

Grants for the Arts

The Hellman Family

William and Flora Hewlett Foundation

Lucy and Fritz Jewett

$ 5 , 0 0 0 , 0 0 0 – $ 9 , 9 9 9 , 9 9 9

Estate of Dora Donner Ide

The James Irvine Foundation

Mrs. Jeannik Méquet Littlefield

National Endowment for the Arts


John Osterweis and Barbara Ravizza

Diane B. Wilsey

$ 2 , 5 0 0 , 0 0 0 – $ 4 , 9 9 9 , 9 9 9

Richard C. Barker

California Arts Council

First Republic Bank

Ford Foundation

Diana Stark and J. Stuart Francis

Gaia Fund

Richard and Rhoda Goldman Fund

Estate of Richard B. Gump

Mimi Haas

Estate of Katharine Hanrahan

Hellman Foundation

The Herbert Family

Donald F. Houghton

G. William Jewell

Koret Foundation


Kenneth Rainin

Mr. George R. Roberts


The Swanson Foundation

Phyllis C. Wattis

Wells Fargo

$ 1 , 0 0 0 , 0 0 0 – $ 2 , 4 9 9 , 9 9 9

American Airlines

Estate of Helen Anderton

AT&T

Bank of America Foundation

Bingham McCutchen LLP

Athena and Timothy Blackburn

BRAVO


Jennifer Caldwell and John H. N. Fisher

The State of California

Estate of Lewis and Emily Callaghan

Mrs. Daniel H. Case III

Chevron Corporation

Estate of Barbara A. Daily

Deloitte

Susan and John Diekman

Suzy Kellems Dominik

Rudolph W. Driscoll

Kate and Bill Duhamel

Sonia H. Evers

Ann and Robert S. Fisher

Estate of Georg L. Frierson

Stephen and Margaret Gill Family Foundation

Evelyn & Walter Haas, Jr. Fund

Colleen and Robert D. Haas

Walter & Elise Haas Fund

Dr. and Mrs. Jeffrey P. Hays

William Randolph Hearst Foundation

The Edward E. Hills Fund

James C. Hormel and Michael P. Nguyen

The William G. Irwin Charity Foundation

George F. Jewett Foundation

George F. Jewett, Jr. 1965 Trust

Estate of Mildred Johnson

JPMorgan Chase & Co.

Maurice Kanbar

Dr. and Mrs. Jerome Ormond Kirschbaum

Diana Dollar Knowles

Estate of Diana Dollar Knowles



The Charles Henry Leach, II Foundation, Jennifer Jordan McCall, Foundation Trustee

Catherine Lego

Paul Lego

Marie and Barry Lipman

The Marver Family

Stephanie and James Marver


Andrew W. Mellon Foundation

Nicola Miner and Robert Mailer Anderson

Pacific Gas and Electric Company

The Thomas J. and Gerd Perkins Foundation

Pillsbury Winthrop Shaw Pittman LLP

Arthur and Toni Rembe Rock

Bob Ross

Gordon Russell

San Francisco Ballet Auxiliary

The San Francisco Foundation

Randee Seiger

O.J. and Gary Shansby

Shubert Foundation, Inc.

The Smelick Family


Estate of Norma Stanberry

Estate of Natalie H. Stotz

Joyce Stupski

Estate of Arlene H. Sullivan

Richard J. Thalheimer

Ms. Susan A. Van Wagner

Visa Inc.

Wallis Foundation

The E. L. Wiegand Foundation

Akiko Yamazaki and Jerry Yang

The Zellerbach Family

Eifman BalletThe Pygmalion Effect (US Premiere)A ballet by Boris EifmanJohann Strauss, Jr., music Zinovy Margolin, set design Olga Shaishmelashvili, costume design Alexander Sivaev and Boris Eifman, lighting design

For 40 years, the defiantly controversial choreographer Boris Eifman has created productions punctuated by sumptuous costumes, exquisite dancing, and riveting drama. Here, the company presents the United States premiere of his brand new ballet, set to a score by Johann Strauss Jr.

“This Russian dancemaker and his dancers are among the most fascinating artists before the public today.”—San Francisco Chronicle

May 31–Jun 2 ZELLERBACH HALL

BY POPULAR DEMAND!Added performance – Saturday, June 1, 2pm

Los Angeles Master ChoraleLagrime di San Pietro (Tears of Saint Peter)Orlando di Lasso, composer Grant Gershon, conductor Peter Sellars, director

May 17 ZELLERBACH HALL

Visionary director Peter Sellars returns to Cal Performances with a profound and stirring a cappella work by one of the Renaissance’s most revered composers.

Performed in Italian, with English supertitles.

“A major accomplishment for the Master Chorale, which sang and acted brilliantly. It is also a major accomplishment for music history.”—Los Angeles Times

calperformances.org/tickets Season Sponsor:

S E A S O N2018/19music dance theater

PerformancesCal U N I V E R S I T Y O F C A L I F O R N I A , B E R K E L E Y

1/2V

PROGRAMS 07 / 08 | 415 865 2000 | 51

G R A N D B E N E F A C T O R S

$250,000 and above

The Hellman Family

Diane B. Wilsey

A R T I S T I C D I R E C T O R ’ S C O U N C I L

$100,000–$249,999

Anonymous

Mr. Richard C. Barker

Anne T. and Robert M. Bass


Ms. Laura Clifford

Cui Lihong and Wang Wei

Sonia H. Evers

Shelby and Frederick Gans

Teri and Andy Goodman

Beth and Brian Grossman

Margaret and Will Hearst

Lucy Jewett



Brenda and Alexander Leff

Mr. James D. Marver


Mr. and Mrs. John S. Osterweis


Arthur and Toni Rembe Rock

Christine Russell and Mark Schlesinger

Randee Seiger

Catherine and Mark Slavonia


Judy C. Swanson

ARTISTIC DIRECTOR'S COUNCILSan Francisco Ballet gratefully acknowledges the members of the Artistic Director’s Council. Their generous support of $100,000 or more to the annual fund is instrumental to the success of SF Ballet, SF Ballet School, and SF Ballet’s education programs. This list does not include gifts made in support of special projects or special events, as they are recognized separately.

Council members receive concierge service and special access to performances, exclusive events, and rehearsals. To learn more about the Artistic Director’s Council, please contact Sarah Warner, Associate Director of Development, Individual Giving at [email protected] or 415 865 6634.

http://calperformances.org/tickets


CHAIRMAN'S COUNCIL

P R E S E N T E R ’ S C O U N C I L

$50,000–$74,999

Athena and Timothy Blackburn+

Chaomei Chen and Dr. Yu Wu

Hannah and Kevin Comolli

David and Vicki Cox+

In Memory of Carole Demsky

Sue and John Diekman+

Drs. Richard D. and Patricia Gibbs

Margaret and Stephen Gill+

Kathleen Grant, M.D. and Thomas Jackson, M.D.+

Jim and Cecilia Herbert+

Matthew & Siska Hobart

Elaine Kartalis

Mr. and Mrs. James C. Katzman+

Nancy A. Kukacka

Marie and Barry Lipman+

Marissa Mayer and Zachary Bogue+

John and Amy Palmer

Mrs. Henry I. Prien+

Kara and Charles Roell

Kathleen Scutchfield+

David H. Spencer

Mrs. Joyce L. Stupski+

Mr. Richard J. Thalheimer+

Ms. Zhenya Yoder

S P O N S O R ’ S C O U N C I L

$25,000–$49,999

Anonymous (2)

Gioia and John Arrillaga+

Eleonore Aslanian+ in memory of Edward Aslanian

Karen S. Bergman+

Ms. Eliza M. Brown+

John G. Capo and Orlando Diaz-Azcuy+

Robert and Laura Cory

Katherine and Gregg Crawford+

Dana and Robert Emery+

Carol Emory and The Wingate Foundation+

Mr. Robert S. Fisher*+

Mr. David Galloreese

Joseph and Marianne Geagea

James C. Gries+

Brian and Rene Hollins+

James C. Hormel and Michael P. Nguyen+

Thomas E. Horn+

Ms. Jeri Lynn Johnson+

Christine and Pierre Lamond+

Dr. and Mrs. Stephen Leavitt

Dr. Timothy Marten, M.D. and Ms. Mary Heylin+

Nion McEvoy and Leslie Berriman

Alexander R. Mehran*+

Michael Moritz and Harriet Heyman

Roland G. Ortgies and Carmela C. Anderson-Ortgies+

Mr. and Mrs. Norman C. Pease

Wylie Peterson and Anne-Marie Peterson

Kacie and Michael Renc+

Mr. and Mrs. Edward Roach+

Mr. George R. Roberts+

Larissa Roesch and Calder Roesch+

Michael and Mary Schuh+

O.J.* and Gary Shansby+

Marc Sinykin and Kevin Osinski

Mr. and Mrs. Robert M. Smelick+

Tom Steyer and Kat Taylor+

Mr. and Mrs. William Truscott

Barbara and Stephan Vermut

Beatrice Wood

C H A I R M A N ’ S C O U N C I L

$15,000–$24,999

Anonymous (3)

Joseph and Brooke

Brenton and Lysbeth Warren Anderson+

Kristen A. Avansino+

Mr. and Mrs. Bartley B. Baer

Rosemary B. Baker*+

Courtney Benoist and Jason M. Fish*+

Ms. Susan Blake+

Bruce Braden+

Rachel Brass and Richard Foster

Ron and Susan Briggs+

Paula and Bandel Carano

Rosalyn Chen Chavez

Mr. and Mrs. Scott Connors

Ms. Phoebe Cowles+

Mrs. Courtney C. Dallaire

Jill Daly

Dr. and Mrs. Jordan Deschamps-Braly

Mr. Josh Elkes and Ms. Rachel Happ

Paula M. Elmore*

Douglas and Barbara* Engmann+

Mr. Frank J. Espina and Mrs. Andrea Valo-Espina

Lynn Feintech and Tony Bernhardt+

Mr. Edward G. Fernandez

Randi and Bob Fisher

Mrs. Mortimer Fleishhacker+

Patty Garbarino

James K. and Helen L. Goodwine+

Brian and Elizaveta Gustafson

Mr. Isaac Hall

Mr. and Mrs. Terry Houlihan

Fred Isaac and Robin Reiner

John G. Kerns*+

William and Gretchen Kimball Fund+

Arlene and Steve Krieger+

Patrice and Walther Lovato

Peter and Melanie Maier

Ms. Susan Marsch

Mr. Gregg Mattner+

Justin T. McBaine

Jane and Roger McCarthy+

Stewart McDowell Brady and Philip Brady

Dr. Maya Meux

Mr. Ronald W. Miller+

Mr. James E. Milligan*+

Mrs. Stuart G. Moldaw+

Mr. and Mrs. Robert L. Newman+

Michel and Mekhala Oltramare

Mr. James Parsons and Ms. Andrea Hong

Dave and Judy Redo+

Glenn H. Reid+

Mr. Jeremy Rishel

Mr. and Mrs. Robert Shaw

Christine Sherry and Lawson Fisher+

The Honorable and Mrs. George P. Shultz+

Mr. and Mrs. George H. Sollman

The Spero Family

Michael and Susanna Steinberg

Alan and Patricia Tai+

Adam J. Thaler

Mr. and Mrs. Charles V. Thornton+

Mr. and Mrs. William R. Timken+

Mr. and Mrs. Alan B. Vidinsky

Paul A. Violich+

Daniel and Marie Welch

Cynthia and Edgar Whipple+

The Whitman Family Foundation

Ms. Patricia Wyrod

Diane and Howard Zack+

The Chairman’s Council brings together a like-minded community of business leaders and philanthropists who share the goal of bringing world-class ballet to a world-class city. San Francisco Ballet gratefully acknowledges the generous support of Chairman’s Council members, who contributed gifts of $15,000 or more to the annual fund as of March 10, 2019. This list does not include gifts made in support of special projects or special events, as they are recognized separately. In addition to receiving Christensen Society benefits, 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 the Chairman’s Council, please contact Danielle St.Germain-Gordon, Chief Development Officer at [email protected] or 415 865 6615.

The names of donors who have been honored as ten-year members of the Chairman’s Council or Christensen Society are followed by a plus sign (+). Former SF Ballet Trustees and Associate Trustees are noted with an asterisk (*).


CHRISTENSEN SOCIET Y

The Honorable and Mrs. George P. Shultz+

Mr. and Mrs. George H. Sollman

The Spero Family

Michael and Susanna Steinberg

Alan and Patricia Tai+

Adam J. Thaler

Mr. and Mrs. Charles V. Thornton+

Mr. and Mrs. William R. Timken+

Mr. and Mrs. Alan B. Vidinsky

Paul A. Violich+

Daniel and Marie Welch

Cynthia and Edgar Whipple+

The Whitman Family Foundation

Ms. Patricia Wyrod

Diane and Howard Zack+

The Christensen Society, named for the three brothers whose artistic vision pioneered SF Ballet, offers a foundational connection to the heritage of the Company. Christensen Society member donations enable SF Ballet to underwrite season productions, acquire contemporary and classical works for our repertory, conduct national and international tours, train hundreds of young dancers at San Francisco Ballet School, and share the love of dance with underserved children and families throughout the Bay Area.

San Francisco Ballet gratefully acknowledges the generous support of Christensen Society members, who contributed gifts of $2,500 to $14,999 to the annual fund as of March 10, 2019. This list does not include gifts made in support of special projects or special events, as they are recognized separately. For more information about the Christensen Society, please contact Ari Lipsky, Senior Manager, Individual Giving at [email protected] or 415 865 6635.

The names of donors who have been honored as ten-year members of the Christensen Society are followed by a plus sign (+) in this section. Former SF Ballet Trustees and Associate Trustees are noted with an asterisk (*).

Mr. and Mrs. Roderick W. Shepard

Dr. and Mrs. Stephen Sherwin+

Anne and Michelle Shonk+

Ms. Cherida Collins Smith+

Susanne Stevens+

The Streets Family+

Ms. Nadine Tang and Mr. Bruce Smith

Helgi and Marlene Tomasson

The Watkins Family+

Helena and William Wheeler

Ms. Leslie Wilson

Mr. Tim C. Wu and Mr. Eric Murphy+

Sharon and Robert Yoerg

Dr. Janice and Mr. Jonathan Zakin+

Kenneth and Anna Zankel, The Grove

D A N C E R ’ S C O U N C I L

$5,000–$7,499

Anonymous (4)

Ms. Diane K. Aaron

Andrew and Linda Rosenberg Ach

Judy and David Anderson

Mr. and Mrs. Greer Arthur+

Ms. Corine Assouline

Mr. John Atwater and Ms. Diana L. Nelson

Ms. Donna Bachle

Dr. Thomas and Julie Ballard

Ms. Deborah Taylor Barrera

Mr. Charles Barrett

Mr. and Mrs. Gene Becker

Valli Benesch and Bob Tandler

Curtis Grisham and Charles Black, Jr.

Mr. William Bonville and Ms. Virginia Jordan

Mr. and Ms. Ron Borelli

Dr. Thomas and Janice Boyce+

Dr. Odelia Braun

Cynthia and Frederick Brinkmann+

Mr. and Mrs. Kent F. Brooks

James R. and Melinda M. Brown

Kelli and Steve Burrill+

Dr. Heidi H. Cary

Mr. and Mrs. Robert Cauthorn

Mr. and Mrs. Donald Chaiken+

Drs. Valerie and Devron Char+

Jack and Gloria Clumeck

Ms. Sandi Covell+

Mary B. Cranston*+

Ms. Nancy Curtiss

Ms. Lisa Daniels

Mr. and Mrs. James A. Davidson

Ms. Bonnie De Clark

Jacqueline* and Christian P. Erdman+

Tawna and John Farmer+

Mr.* and Mrs. Irwin Federman+

Brent and Sandra Fery

Ms. Linda Jo Fitz+

Mr. and Mrs. David Fleishhacker+

Ms. Sonia Florian

Mr. Dennis N. Fluet+

Camille and Sean Flynn+

John and Kelly Foley

Mr. and Ms. Donald D. Fortune Jr.

Ms. Mayhill Fowler

Mr. David B. Franklin and Mr. Ruedi F. Thoeni

Mrs. Phyllis K. Friedman+

Marilyn & Robert Funari Family Foundation

Ms. Jane Gazzola

Ms. Malin Giddings and Mr. Richard Hechler

Sally L. Glaser and David Bower+

Mary and Nicholas Graves+

Donald W. and Patricia L. Green

Claude and Nina Gruen+

John and Lucie Hall

Michael and Julie Hawkins

Miranda Heller and Mark Salkind+

Mindy Henderson

Joan and Alan Henricks

The Henrikson Family Foundation

Ms. Mary Herman

Cynthia Hersey

Mr. Patrick M. Hogan

Hank J. Holland*

Ms. Kimberly M. Hughes+

Ms. Giovanna Jackson*

Ms. Andrea Jacoby+

Mr. Peter Joshua

C H O R E O G R A P H E R ' S C O U N C I L

$7,500–$14,999

Anonymous (5)

Sig Anderman

Norby Anderson

Ms. Maren Armour

Drue and Jerry Ashford+

Mr. and Ms. Bartley B. Baer

Jeanne and William Barulich

Dr. Margaret Bates and Scott Johnson+

Mr.* and Mrs. Joachim Bechtle+

Lydia and Steven Bergman

Davidson Bidwell-Waite and Edwin A. Waite+

Claire and Jared Bobrow+

Mr. and Mrs.* William S. Brandenburg

Kelly and Samuel* Bronfman II+

The Robinson Family - AB Butler Family

Damian S. Carmichael

Jon B. Chaney+

Antoinette Chatton+

Ms. Karen K. Christensen+

Robert Clegg*+

Mr. and Mrs. Sol Coffino

Ms. Katie Colendich

Dr. Charles Connor+

Ms. Phyllis Cook+

Michele Beigel Corash and Laurence Corash+

Peter and Quin Curran

Mr. and Mrs. Angelos Dassios

Juanita and Manuel Del Arroz+

Mrs. Suzy Kellems Dominik*+

Ms. Paulette Doudell+

Robert and Judith Duffy+

Ms. Katherine M. Fines and Mr. Henry Heines+

Doris Fisher+

J. Stuart Francis and Diana Stark+

John and Marcia Goldman+

William J. Gregory

Ann M. Griffiths+

Linda Groah

Dr. Elizabeth A. Harrison

Dr. Birt Harvey

Mr. and Mrs. A. Grant Heidrich III+

Dr. and Mrs. I. C. Henderson+

Mr. and Mrs. John S. Hoch

Ms. Kathryn Huber and Mr. William Larry Binkley

Mr. Hiro Iwanaga

Arnold and Laurel Jacobson

Mr. and Mrs. Richard Jasen

Guyton Jinkerson+

Mrs. Barbara L. Johnson

Jim and Barbara Kautz

Ms. Lisa A. Keith+

Ms. Micki Klearman

Linda and Robert Klett+

Mr. and Mrs. Mark Kostic

Mrs. Maja Kristin

Ms. Linda Kurtz

Captain Witold Klimenko and Dr. Darlene Lanka-Klimenko+

Laube Family Foundation

Mark and Debra Leslie+

Ms. Betsy A. Linder+

Mark and Lori Litwin+

Ms. Tiffany Lockridge

Carol and Hal Louchheim+

Mr. and Mrs. Allen Luniewski

Lori and David F. Marquardt+

Ms. Suzanne M. Miller

Mr. David Morandi

Marta L. Morando+

Mrs. Janet Morris+

Manfred K. Mundelius+

Miriam Sedman and Ralph Nyffenegger+

Ms. Carla Oakley and Mr. Kevin McCarthy+

Mr. David Oldroyd and Mr. Ronnie Genotti

Ms. Mindy Owen+

Ms. Elizabeth A. Peace

Beth Price+

Leslie and Nick Podell+

Mr. and Mrs. Neal I. Powers

Mr. Gordon L. Radley+

Ms. Patricia Rock and Mr. John Fetzer

Mr. Gordon Russell and Dr. Bettina McAdoo+

Dorothy Saxe+

Kamran and Helena Shamsavari+


CHRISTENSEN SOCIET Y CONTINUED

Ms. Cameron L. Best

Philip Bettens

RADM and Mrs. John W. Bitoff+

Amos and Carla Blackmon

Ms. Martha E. Blackwell

Dr. Phyllis B. Blair

Mr. Noel T. Blos+

Ms. Janet M. Bollier

Bon Air Center

Rebecca and Michael Bradley

Ms. Carolyn J. and Mr. David W. Brady

Germaine Brennan Foundation+

Julie Brown-Modenos

Ms. Barbara Brown+

Catherine Brown and Gerald Gwathney

Josephine Brownback+

Katie Budge

Betty C. Bullock and Robert Murray

Julie and David Burns

Peggy and Donald Burns+

Mrs. Leah Busque

Adrian and Carol Byram

Mr. and Mrs. Anthony Calabrese

Mrs. John Callander+

Dr. Paula Campbell

Libi Cape+

Nina Cardoza and John Krowas

Nina Carroll+

Ms. Linda Carson+

Michaela Cassidy* and Terry Whitney+

Charles R. Castellano and Deryl Castellano

Mr. Benedick Chai

Mr. Marvin Charney

Mr. Paul Clifford

Douglas Clough and Erin Uesugi

Ms. Margaret Coblentz

Mitchell and Susan Cohen+

Ms. Claudia Coleman+

Richard and Sylvia Condon+

Sandi Conniff

Mrs. Glenna Cook

Jane A. Cook+

Alice M. Corning+

Joan and Victor Corsiglia

Ms. Carmen Côté De Vaughn

Ms. Lilly Creighton

Ms. Jennifer Crutchfield

Dr. Stephen J. Danko

Ms. Susan J. Davenport

Mr. Dan Davies

Dr. and Mrs. R.L. Davis+

Ms. Joan Dea and Mr. Lionel Conacher

Mr. Keith Dehoff

Dr. Richard M. Delfs+

Marvin Dennis+

Mr. Curtis E. Dennison

Ms. Simone Derayeh

Julie Desloge and George A. Newhall+

Mr. and Mrs. Robert Dickson

Mr. and Mrs. Theodore S. Dobos+

Alicia Dougherty-Wold and Thomas Wold

Mr. and Mrs. William H. Draper III

Michael E. Dreyer and Harry B. Ugol+

Mrs. Jennifer M. Duarte

Mr. Garrettson Dulin, Jr.

Ms. Jane Durie

Mr. Fritz Eberly

Ms. Freya Eduarte and Mr. Philippe Courtot

Diane and Joseph Ehrman III+

Dr. Robert Elfont and Ms. V’Anne Singleton

Kirsty Ellis

Mr. and Mrs. Lionel Engelman

Mr. Stephen W. Etter

Mr. Greg Evans

Mrs. Mickey Evans

Rev. Richard Fabian

Buck Farmer and Leida Schoggen

Mr. Zé Figueirinhas

Mr. William E. Fisher+

Dr. and Mrs. Keith Flachsbart

Shelley Floyd and Albert Loshkajian

Mr. and Mrs. Roy A. Francies Jr.

Mr. and Mrs. Thomas Frankel+

Mr. Douglas Frantz

Mr. Ernest Freeman

Ms. Baerbel Freytag

Dr. and Mrs. A. W. Fricke

Mr. Ian Friedland

Ms. Joyce Friedman

Ellen Fujikawa

Dr. Kim Fullerton-Nelson

Ms. Ayumi Funaki

Penny and Gregory Gallo+

Mr. John Garfinkle

David Getchell and Allison Gonzalez

Nora L. Gibson and William L. Hudson

Joy Gim

Mr. Brendan Glackin

Glaucoma Center of San Francisco

Ms. Georgie Gleim

Ms. Barbara Glynn

Mr. Alberto Gobbi

Jennie Golde

Nora Goldschlager

Drs. Meryl Gordon and Robert Schermer

Phillip and Philippa Newfield Gordon+

Shelley Gordon

Mr. James Gosling+

Mr. Michael Grady

Richard L. Grant and James L. Miller+

Ms. Joan Green

Judy and Josh Green

Mr. and Mrs. Lawrence Green

Nonie H. Greene and Todd Werby+

Mr. Roger D. Greer

Sara G. Griffith

Duncan and Jeanie Gurley

Mr. David A. Kaplan and Mr. Glenn Ostergaard+

Ms. Dorothy Kaplan

Mr. Loren B. Kayfetz

Mr. and Mrs. Jascha Kaykas-Wolff

Kristen Kelly

Rev. Keenan C. Kelsey

Mr. and Mrs. John D. and Paulette Kempfer

Mr. and Mrs. Alan F. Klein+

Ms. Patricia D. Knight

Mr. and Mrs. James Knoll

Ms. Suzanne Knott and Mr. Tom Rose

Sharon Lambert and Charles Cohen+

Mr. and Mrs. Jude Laspa+

Jeff and Melissa Li

Ms. Judy Lichterman

Christa and Mark* Lopez

John and Kate Lord+

Dr. and Mrs. G. Karl Ludwig, Jr.+

Mr. and Mrs. Laurence R. Lyons

Mr. Michael Manning

Ms. Dosia Matthews

Mr. Patrick McCabe

Jennifer J. McCall+

Dr. Jack M. McElroy and Dr. Mary Ann Skidmore+

Joan and Robert McGrath+

Mr. and Mrs. John A. McQuown

Mr. Steve Merlo

Mary Mewha*

Carole Middleton

Mr. Ted E. Mitchell+

Kathleen Much and Stanley Peters

Ms. Donna Neff

Mr. Paul Nordine

Mr. and Mrs. Michael O’Sullivan

Mr. Richard Oppenheimer

Sandy Otellini+

Mrs. Alexandra Ottesen

Mr. Dennis Otto & Mr. Robert Meadows

Mr. William D. Parent+

Patricia Sanderson Port

Ms. Ruth Quigley

Ursula Elisabeth Ralph

Ms. Teresa Remillard

Dr. and Mrs. Robert E. Richardson+

Mr. and Mrs. Fredric H. Roberts

Mr. Sanford R. Robertson+

Ms. Marianne B. Robison+

Ms. Susan Rosin and Mr. Brian Bock

Mr. and Mrs. Mark J. Ryan+

Paul Sack and Shirley Davis+

William and Linda Schieber

Carolynne Schloeder

Dr. David Tai-Man Shen and Mrs. Elaine Shen+

Dr. Dale Skeen+

Ms. H. Marcia Smolens+

Mrs. Linda Snyder

James Sokol

Ms. Ellice Sperber and Ms. Emma Elizalde

Mr. and Mrs. Mathew Spolin+

Ms. Tricia Stephens

Mr. Matthew Stepka

Ms. Catherine Stout

Ms. Fran A. Streets+

Mrs. Dwight V. Strong+

Maureen and Craig Sullivan

Mr. and Mrs. Jim Swartz+

Ms. Jody K. Thelander

Mr. and Mrs. William L. Thornton+

Mr. Harry Tierney+

Mr. Dana Tom

Mr. and Mrs. Edward Tortorici

Ms. Lida Urbanek

Drs. Oldrich and Silva Vasicek+

Ms. Adrian Walker+

Jennifer* and Steven Walske+

Ms. Susan Warble

Daphne and Stuart Wells

Mr. and Mrs. Wallace Wertsch+

Karen and Stephen Wiel+

Mr. and Mrs. David Wilner

Mr. Paul Wilson

Mr. and Mrs. Michael Woodall

Dr. Keith R. Yamamoto+

A S S O C I A T E ' S C O U N C I L

$2,500–$4,999

Anonymous (5)

Ms. Marcia Abrams

Michael C Abramson+

Norman Abramson and David Beery

Molly and Stewart Agras+

Mr. Bruce Albert and Dr. Chady F. Wonson+

Ms. Melissa Allen

Lisa and Maria Alvarez

Jola and John M. Anderson+

Mr. Zachery Anderson

Dr. and Mrs. Joseph S. Andresen+

Ms. Christine DeSanze and Mr. Scott Anthony

Mr. and Mrs. Robert Benton Armstrong

Mr. and Mrs. Hiroki Asai

Asmus Family

Ms. Mary Atwater

Ms. Nancy R. Axelrod+

Chris and Janet Bajorek

Mr. Stephen A. Bansak III

Ms. Olivia Barbee

Karen Bartholomew

Marie-José and Kent Baum+

Mr. and Mrs. David W. Beach+

Ms. Lydia Beebe

Mr. Daniel C. Belik

Ms. Desa C. Belyea

Dr. and Dr. Anne Leland Benham

Mr. Robert G. Benson

Mr. and Mrs. William H. Bentley

Ms. Carol Benz

Mrs. LaVerne Beres

Diana Bersohn

PROGRAMS 07 / 08 | 415 865 2000 | 55

Mimi Haas+

Stephen Halprin+

Alexander and Catherine Hargrave+

Sara and Catherine Harkins+

Mr. and Mrs.* Kenneth Hecht

Mr. and Mrs. Ronald Heckmann

John F. Heil+

Martha and Michael Helms

Mr. and Mrs. Christopher Hemphill

Ms. Kristine T. Hernandez and Mr. Michael R. Glaser

Ms. Shelly Hernandez

Virginia Hind Hodgson

Susan and Russell Holdstein Philanthropic Fund

Sunny Holland and Alan Pryor+

Mr. and Mrs. Christopher Hollenbeck

Ms. Carol Ann Holley

Amal and Denis Hommais

Ms. Billye Howard

Dr. Serena Hu

Cordell and Susan Hull

Ms. Marie L. Hurabiell

Susan and Lyman Hurd

Ms. Margaret C. Hutchins

Carolyn T. Hutton

Mr. Churn Hwang

Ms. Corey Hyde

Ms. Meghan Imrie

Ms. Karen J. Irvin+

Ms. Anne Irwin

Jackson Family+

Dennis and Paula Jaffe

Ms. Lili Jensen

Ms. Berdine Jernigan

Ms. Jane L. Johnson

Todd Jolly and Judith Murio

Debra and Blake Jorgensen

Ms. Roberta Kameda

Bruce and Dasa Katz+

Tom Kennedy

Drs. Douglas and Carol Kerr

Ms. Kathryn Kersey

Mehrzad Khajenoori

Ms. Jennifer H. Kilpatrick

Kevin King and Meridee Moore+

Mrs. Jerome Ormond Kirschbaum+

Mr. and Mrs. Mark S. Koenig

Mr. and Mrs. Martin M. Koffel

Mr. Abner Korn

Ms. Gladys Kwong

Reiko and Yasunobu Kyogoku

Ms. Nicole LaFlamme

Mrs. Brigitte Laier

Mr. Bryan Lamkin and Ms. Arianna Carughi

Ms. Sandy S. Lee

Patricia W. Leicher

Julius Leiman-Carbia & Kyle Thomas Smith

Patricia Lekas and John Wentz+

Mr. and Mrs. Edward M. Leonard+

Mr. and Mrs. Mark R. Lepper+

Robert Levenson and Michelle Shiota

Mr. Fred M. Levin and Ms. Nancy Livingston

Mr. Roy Levin and Mrs. Jan Thomson

Ms. Allison Jacobs

Pam G. Lewis+

Ms. Debra A. Leylegian+

Claire and Herbert Lindenberger+

Dr. Mary Jane W. Loda

Carol and Bill Lokke

Mr. and Mrs. Steve Love

Dan Lowenstein & Mylo Schaaf

Ms. Pirkko Lucchesi

Mr. and Mrs. Lawrence Ludgus+

Mr. Harvey Lynch

Leslie MacDonald

Mrs. Rhondalee Mahendroo

Howard and Siesel Maibach+

Dr. Aditi Mandpe

Mr. Richard Martin

Ms. Virginia Martin

Mr. Adolph V. Martinelli

Ms. Connie V. Martinez

Ms. Mary E. Massee

Holly and Stephen Massey

Niko and Steven Mayer+

Dr. and Mrs. W. D. McCallum+

Mr. and Mrs. George McCown+

Mr. Glenn McCoy+

Dan McDaniel, M.D.

Ms. Kathleen McEligot+

Ms. Jean A. McIntyre

Lisa and Jason McPhate

Dr. and Mrs. Bruce Mebine

Mr. David E. Meders

Ms. Alena Meeker

Mr. Martin Melia

Dr. Beryl Mell and Renee Mell+

Mr. Wallace Mersereau

Byron R. Meyer*+

Mr. and Mrs. Lou Meylan

Fred A. Middleton+

Richard Miller and John Vinton+

Ms. Elizabeth Mitchell

Susan and Jack Molinari+

Mr. and Mrs. Ken Moonie+

Gary and Eileen Morgenthaler

Dianne and Brian Morton

Ms. Alexandra Moses+

Mr. Milton J. Mosk and Mr. Thomas Foutch+

Chris Motley & Neil O’Donnell

Ms. Sharon S. Muir

Mr. John Murphy

Mr. Roger Murray

Ms. Vija Hovgard Nadai

Mrs. Shirley Negrin+

Dr. Alex Nellas

Drs. Andrew and Lynn Newman+

Jeanne Newman

Cathy and Raul Nicho

Tom Nicoll+

Ms. Allison Nielsen

Patricia and Hayes Noel

Mrs. Wilma J. Nurenberg

Ms. Linda L. Olson and Mr. David Polnaszek

Mr. and Mrs. Philip Ouyang+

Mr. and Mrs. Will Parker

Dr. Eugene H. Peck

Hon. Nancy Pelosi & Mr. Paul Pelosi

Dr. Barbara A. Peters

Mrs. Lois M Peterson

Ms. Patricia Peterson

The Phillips Family+

Dr. Ben M. Picetti

Hilary C. Pierce and Keir J. Beadling

Edward and Linda Plant+

Melissa and Ritchie Post+

Mrs. and Mr. Patrick V. Powers

Burr Preston

Ms. Sandra Price+

Virginia Leung Price and Walter C. Price, Jr.

Mr. John Pringle+

Louis Ptacek and Ying-Hui Fu+

Mr. Fritz Quattlebaum+

Mr. and Mrs. Jeffrey Ralph

Barbara Rambo* and Thomas A. Goossens+

James Deveney and Steve Rausch

Drs. Garry and Kathy Rayant+

Judge and Mrs. Charles B. Renfrew

Louise and Paul Renne

Ann and Jon Reynolds+

Prof. and Ms. Paul L. Richards

Thomas C. Rindfleisch and A. Carlisle Scott+

Mr. Chip Roame

L.L. Roberts and A.R. Wilbanks+

Jack and Fran Rominger

Ms. Patricia Rosenberg

Kate Rowe+

Mr. Paul L. Rowe and Mr. Michael Sereno

Tiffany Loren Rowe

Mr. Roberto Ruiz and Mr. Kevin Lee

Nicholas Heldt and Elizabeth Salveson

Louise Adler Sampson

Ms. Letitia Sanders

Donald and Terry Sarver+

Mr. Michael Scagliotti and Mrs. Miya R. Peard

Gwendy and Anthony Scampavia+

Warren A. Schneider

Mr. and Mrs. Paul A. Schroeder

Ms. Deborah Schultz and Mr. Gary Cohen

Mrs. Avé M. Seltsam and Mr. James D. Seltsam, Jr.

Joan and Lynn Seppala

Ms. Teresa Serata

Mr. and Mrs. Gary J. Shapiro+

Yuqiao Shen

Mr. and Mrs. Drew Sievers

Mr. Lawrence J. Simi and Mrs. Janet Rogers

Earl Singer

Mr. Paul Skan

Mr. Jeffrey Sloan

Mrs. Paula Anne Smith

Mr. Stephen R. Smith and Ms. Theresa E. Lahey

Mr. Scott C. Sollers

Mary Ann Somerville+

Lisa J. Stern-Hazlewood+

Mr. Paul Stone

Mrs. Mary Stuard

Jonathan Feinstein and Erika Stuart

Joseph J. Sturkey+

Kimberly and Philip Summe

Darian and Rick Swig+

Roselyne C. Swig*+

Ms. Lita Swiryn

Jane and Jay Taber

Teresa Tang

Ms. Trecia Knapp and Mr. Bruno Tapolsky

Mrs. Bente Tellefsen+

Mr. James Teter

Ms. Holli P. Thier, J.D.

Judy and Harold Ticktin

Mr. Ronald R. Titus

Mr. and Mrs. Vincent Tobkin

Lowell Tong and Alasdair Neale

Ms. Amanda Topper+

Lee Travers

Mr. John Tusch

Charles W. Tuttle, Jr.

Ms. Helen Tyree

Mr. Herbert Uetz

Patricia Unterman and Tim Savinar

Janet Sassoon-Upton and John R. Upton, Jr.+

Dr. Conrad Vial

Mrs. Virginia Wade

Mr. and Mrs. Mark Wallace

Mr. Richard Walsh

Emily and Bob Warden

Rosalie V. Weaver

Eitan Fenson and Barbara Weinstein

Mr. and Mrs. Otto Weiss+

Ms. Carol A. Weitz

Melanie and Ronald Wilensky

Ms. Faye Wilson

Mr. and Mrs. Terry Winograd

Ms. Muriel Wolverton

Sharon* and Dr. Russell Woo+

Laureen Woodruff+

Ms. Daphne Wray

Ms. Margaret Wrensch

Ms. Kelly Wulff

Mr. Babak Yazdani

Jacqueline Young

Mr. and Mrs. Ronald Zaragoza

Mr. James Zawada

Catherine Zimmerman

Mr. and Mrs. Harold Zlot

Mrs. Sandra J. Zrnic


INSTITUTIONAL SUPPORTForward-thinking organizations understand the need to create a vibrant civic life in the places they do business. Giving from private, family, and community foundations helps us commission new works; design and build sets and costumes; take the Company on tour; and engage our communities. Leading corporations—local, national, and international—enhance their reputations by supporting SF Ballet performances, touring, special events, and our community engagement programs. And when they do, they are able to promote their brand to an audience of opinion makers, entertain clients at performances, and receive other special benefits as part of a customized benefits package.

To learn more about Foundation giving, contact Elizabeth Luu, Associate Director of Development, Institutional Giving, at [email protected] or 415 865 6616.

To learn more about Corporate giving, contact Colette Whitney, Corporate Giving Manager, at [email protected] or 415 865 6651.

G R A N D B E N E F A C T O R S

$250,000 and above

San Francisco Grants for the Arts

Koret Foundation


$100,000–$249,999

Hellman Foundation

The William and Flora Hewlett Foundation

George F. Jewett Foundation



$50,000–$99,999

Flora Family Foundation

Stephen and Margaret Gill Family Foundation

The Diana Dollar Knowles Foundation

National Endowment for the Arts

The Shubert Foundation, Inc.


$25,000–$49,999

Mimi and Peter Haas Fund

Heising-Simons Foundation

H. B. and Lucille Horn Foundation

Jerome Robbins Foundation

The Charles Henry Leach, II Fund

E. L. Wiegand Foundation

C H O R E O G R A P H E R ’ S C O U N C I L

$10,000–$14,999

The Guzik Foundation

Walter & Elise Haas Fund

John Brockway Huntington Foundation

Taube Philanthropies

Zellerbach Family Foundation


$5,000–$9,999

Mervyn L. Brenner Foundation, Inc.

Lisa and Douglas Goldman Fund

The Hope and Norman Hope Foundation

Walter S. Johnson Foundation

Marin Community Foundation

A S S O C I A T E ’ S C O U N C I L

$2,500–$4,999

Lakeside Foundation

FOUNDATION & GOVERNMENT SUPPORT


$100,000–$249,999

Osterweis Capital Management

P R O D U C E R ’ S C O U N C I L

$75,000–$99,999

Bank of America

WSO2 Inc.


$50,000–$74,999

Chevron

Innovation Global Capital

JPMorgan Chase & Co.

Kaiser Permanente

KPMG

Pacific Gas and Electric Company


$25,000–$49,999

First Republic Bank

Tiffany & Co.

Visa


$15,000–$24,999

Almaden

Charles Schwab & Co., Inc.

Freed of London

Shreve & Co.

UBS

U.S. Bank Foundation


$10,000–$14,999

B | O| S (Bingham, Osborn & Scarborough, LLC)

Brooks Brothers

Dodge & Cox

Gap Foundation

Lillet

Mechanics Bank Wealth Management

Willis Towers Watson


$5,000–$9,999

Athleta

Denning and Company

Ted Baker


$2,500–$4,999

Fort Point Beer Company

GI Partners

SpotHero

CORPOR ATE SUPPORT



$25,000–$49,999

First Republic Bank

Tiffany & Co.

Visa


$15,000–$24,999

Almaden


Freed of London

Shreve & Co.

UBS



$10,000–$14,999


Brooks Brothers

Dodge & Cox

Gap Foundation

Lillet




$5,000–$9,999

Athleta

Denning and Company

Ted Baker


$2,500–$4,999


GI Partners

SpotHero


$100,000–$249,999

Bay Area Rapid Transit

J Riccardo Benavides

FITNESS SF


$50,000–$99,999

Immersive Productions

McCalls Catering & Events

SmashMallow


$25,000–$49,999

Gloria Ferrer Caves & Vineyards

Nob Hill Gazette



$15,000–$24,999

Allegra Entertainment & Events

Ernest Vineyards

Piedmont Piano


$10,000–$14,999

Almaden

Miette

Ordaz Family Wines

Sbragia Family Vineyards


$5,000–$9,999

Etude Wines



$2,500–$4,999

Diptyque Lillet

IN - KIND SUPPORT

Join Friends of San Francisco Ballet and ensure that we are around for future generations to enjoy. As our way of saying thanks, you’ll get special benefits designed specifically to enhance your SF Ballet experience.

LOOKING FOR MORE OUT OF YOUR SF BALLET EXPERIENCE?

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JOIN US, WON’T YOU? Visit our website at sfballet.org/donate or call 415 865 6628.

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$25,000–$49,999

First Republic Bank

Tiffany & Co.

Visa


$15,000–$24,999

Almaden


Freed of London

Shreve & Co.

UBS



$10,000–$14,999


Brooks Brothers

Dodge & Cox

Gap Foundation

Lillet




$5,000–$9,999

Athleta

Denning and Company

Ted Baker


$2,500–$4,999


GI Partners

SpotHero


$100,000–$249,999

Bay Area Rapid Transit

J Riccardo Benavides

FITNESS SF


$50,000–$99,999

Immersive Productions

McCalls Catering & Events

SmashMallow


$25,000–$49,999

Gloria Ferrer Caves & Vineyards

Nob Hill Gazette



$15,000–$24,999

Allegra Entertainment & Events

Ernest Vineyards

Piedmont Piano


$10,000–$14,999

Almaden

Miette

Ordaz Family Wines

Sbragia Family Vineyards


$5,000–$9,999

Etude Wines



$2,500–$4,999

Diptyque Lillet

IN - KIND SUPPORT

Join Friends of San Francisco Ballet and ensure that we are around for future generations to enjoy. As our way of saying thanks, you’ll get special benefits designed specifically to enhance your SF Ballet experience.

LOOKING FOR MORE OUT OF YOUR SF BALLET EXPERIENCE?

Lon

nie

We

eks

in

Bo

un

d T

o© b

y C

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ph

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JOIN US, WON’T YOU? Visit our website at sfballet.org/donate or call 415 865 6628.

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http://laketahoedancecollective.org


JOCELYN VOLLMAR LEGACY CIRCLEYour estate gift to SF Ballet puts you in very special company: the Jocelyn Vollmar Legacy Circle. Jocelyn Vollmar’s career extended from performing roles in SF Ballet’s first Nutcracker and Swan Lake to training generations of dancers in SF Ballet School. We created the Jocelyn Vollmar Legacy Circle to recognize and thank those individuals who, as a part of their own legacy, make an investment in the future of SF Ballet.

Members gain special insight into SF Ballet and the creative process of dance through an annual celebratory luncheon and other behind-the-scenes events. 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. For information about Legacy Circle membership and estate gift options, please contact Elizabeth Lani, Deputy Director of Development/Planned Giving, at [email protected] or 415 865 6623.

Anonymous (68)Michael C. AbramsonNorman Abramson and David BeerySophie and Ted AldrichAnthony J. AlfidiCal AndersonJola and John M. AndersonDavid and Judith Preves AndersonSteven D. AriasRoulhac and Tom AustinNancy R. AxelrodML Baird, in memory of Travis & Marion BairdRosemary B. BakerRichard C. BarkerValera Ferrea BarnhartMarie Schoppe BarteeMargaret Bates, M.D.Richard and Kathy BealCecelia BeamDr. and Mrs. Walter E. BergerKaren S. BergmanMs. Catherine BergstromShannyn BessoniDavidson Bidwell-Waite and Edwin A. WaiteArthur BienenstockPatricia Ellis BixbyPhyllis B. BlairAviva Shiff BoedeckerJon BorsetDr. Carol BowdenBruce BradenLisa K. BreakeyRon and Susan BriggsLeonard Brill and Richard SanjourCynthia and Frederick BrinkmannAgnes Chen Brown, in memory of Robert Elliott BrownJames R. and Melinda M. BrownWilliam C. BullockMarjorie and Gerald BurnettJulie and David BurnsPatricia ButlerAdrian and Carol ByramPatricia J. CampbellJack CapitoLinda Parker CassadyMichaela CassidyAnnag Rose ChandlerAntoinette ChattonLarry Chow and Ralph WolfDiane and William ClarkeRobert CleggBette Jean Clute

Michael Q. Cohen and Carol Berman CohenMaggie CollinsJane A. CookMary Ellen CopnerColette V.A. CornishSandi CovellDeborah Pearson CowleyKenneth and Diane CoxLynda Meyer CroninGerald CurrierRamona Manke DavisCornelia Y. de SchepperMartha DebsDavid and Alaina DeMartiniKarel and Mark DettermanCharles DishmanChristine H. DohrmannSam Alicia DukePeter and Ludmila EggletonJoseph Ehrman IIICarol EmoryMs. Frances EubanksJoan FalenderMerritt and Mary Lou FinkC. Candace FitzgeraldRichard FitzgeraldVictoria FlavellFrannie FleishhackerJohn and Kelly FoleyMr. and Mrs. Thomas W. FooteMary Jo FrancisDouglas FrantzSandra and Alfred FrickeJoseph and Antonia FriedmanConnie Marie GaglioShelby and Frederick GansJohn GarfinkleJacqueline GhosinStephen and Margaret GillS. Bradley GillaughJane GitschierTeri and Andy GoodmanMeryl Gordon, M.D.Michael W. GradyJeneal GranieriLawrence Grauman, Jr.Joan and Michael GreenPatricia Lindsay and Donald W. GreenRoger W. GreenNeed to ConfirmJames GriesMartin C. HamiltonRosemary (Rosie) Hayes

Terry Hynes HelmCecilia and Jim HerbertJerry HillLinda K. HmeloBetty HoenerHolly and Chris HollenbeckThomas E. HornMr. and Mrs. Terry HoulihanVija M. HovgardHarold D. and Jocelyn P. HughesMarie Louise HurabiellGary IsoardiDorothy and Bradford JeffriesBerdine JerniganMrs. Barbara JohnsonSusan E. and John E. Johnson Jr.Mark G. JonesMrs. René JopéDr. Devorah Joseph, in memory of Nerrissa JosephDavid A. KaplanRose Adams KellyJohn KernsMrs. Jerome Ormond KirschbaumLinda and Robert KlettSuzanne Knott and Tom RoseCarole Dillon KnutsonMs. June KronbergJoan Shelbourne KwansaSharon LamptonMr. and Mrs. Norman Graham LeaperKimun LeeMarcia Lowell LeonhardtIrv Lichtenwald and Stephen R. RippleBetsy LimSusan R. LinCarol and Hal LouchheimBarbara LoweJames J. LudwigMr. and Mrs. Laurence R. LyonsSusan Adair MaleckiJo MarkovichJohn Robert MartinConnie V. MartinezMr. James D. MarverDosia MatthewsGwen and Hamp MauvaisSteven and Niko MayerMs. Shawna Marie McDonaldKathlyn McDonough and Dennis YamamotoDonald L. McGeeMrs. William L. McGeeDr. Terri McGinnis

Betsy and Ed McGuiganEdward M. Silva and James H. McMurraySusan J. MeadowsRobert L. MerjanoSteve MerloKarl Meyer and Kelly HailsJ. Sanford MillerMs. Joyce E. MillerSandra M. MiragliaMr. Sidney F. MobellNancy and Larry MohrPatricia MokMilton J. MoskElise MosseKathleen MuchTom and Anne MullerManfred K. MundeliusPeter Johnson MustoVirginia Mylenki and James J. PidgeonMr. and Mrs. Robert L. NewmanTom NicollJeffrey A. NighNorman and Hillevi NullPeter Nye and James MarksJohn S. OsterweisJohn and Amy PalmerJames O. Pearson, Jr.Laura Holmes PetersRudy PicarelliMichael C. PirrungKaren PosnerSteve and Cleo PostleRoger and Deborah PotashMr. and Mrs. Albert M. PriceJane RadcliffeDave and Judy RedoGlenn H. ReidM.A. Rey-Bear TrustMr. and Mrs. Richard D. RingePat RobertsElsie RobertsonPauline and Richard RoothmanRenee and Dennis RossRenee RubinKarl Ruppenthal and Jo MaxonPat SandersonDorothy SaxeNorman SchlossbergMs. Catherine SchmidtWalter and Sharon SchneiderAl SchroederLeonard C. SchwabHarold E. Segelstad

PROGRAMS 07 / 08 | 415 865 2000 | 59

Mr. and Mrs. Jack SelfChristine SelleMichael and Daryl ShafranJ. Gary and O.J. Shansby FoundationJohn-Luke SheridanMrs. Carter Parrish SherlinCarol R. SholinJames H. McMurrayMarc Sinykin and Kevin OsinskiCharles G. SmithCleveland M. SmithDr. W. Byron SmithM. Eileen Soden, Ph.D.Scott C. SollersSue SommerSharon St. JamesStephen B. SteczynskiNancy SternBarbara and Charles StevensSusanne StevensMrs. Dwight V. StrongJane and Jay TaberMr. and Mrs. Alan TaiJack Eugene TeetersSam Thal, M.D.Richard J. ThalheimerSuzanne and Charles ThorntonJazz TiganMr. and Mrs. Howard TimoneyMichael E. TullyJanet Sassoon-Upton and John R. Upton, Jr.Carolyn and Terry VoetMrs. Katherine WallinMrs. Barbara W. WanvigRosalie V. WeaverDr. Frieda WeinerDaphne and Stuart WellsBenjamin and Mary Ann WhittenKaren and Stephen WielMr. Burlington WillesMichael WilliamsMiles Archer WoodliefLaureen WoodruffDr. Robert and Sharon YoergJanice Hansen ZakinKristine A. ZeiglerMrs. Stephen A. Zellerbach

ESTATE GIFTSSan Francisco Ballet gratefully recognizes the following patrons whose contributions to SF Ballet through their estates have provided meaningful support since July 1, 2015. The Ballet is honored by their generosity and vision for the future of the institution. Bequests and other estate gifts, both large and small, are an integral part of the Ballet’s financial well-being.

$1,000,000 and AboveBarbara A. Daily

Chris Hellman

Donald F. Houghton

Norma Stanberry

Natalie H. Stotz

Arlene H. Sullivan

$500,000–$999,999Milan Milton Holdor

$250,000–$499,000Anonymous

Ruth A. Copley

$100,000–$249,999Earl Diskin

Gloria R. Hendricks

Bernice Itkin

George W. Lord

Dr. Florence R. Oaks

$50,000 to $99,999Ms. Edith Hammerslough

Mason B. Wells

Up to $50,000Anonymous (8)

Carol S. Arnold

Eileen Bobrow

Barbara Deepe

Mr. and Mrs. Rudolf Glauser

Arnold A. Grossman

John E. Leveen

Ruth Morse

Julia Nash

Rachel H. Norman

Jessica M. Putney

Michelle Scholz

Betty S. Thal

San Francisco Ballet in Ratmansky's Shostakovich Trilogy // © Erik Tomasson

YOUR LEGACY, OUR FUTURE

Jocelyn Vollmar dedicated her life to dance and to San Francisco Ballet. A San Francisco native, she received her training at SF Ballet School and was a distinguished principal dancer with the Company. Her extraordinary career included important milestones for the organization: she performed in the American premieres of the now-universally loved ballets Swan Lake and Nutcracker, in which she was our first Snow Queen.

In 1948, she was invited by George Balanchine to dance with New York City Ballet in its inaugural year and then performed internationally before returning to complete her performing career here at SF Ballet. After leaving the stage, Jocelyn was a teacher at the SF Ballet School from 1985 to 2005, training generations of dancers. Her contributions have been many in shaping the institution, including her devotion to the art form at the highest standards of excellence.

The Jocelyn Vollmar Legacy Circle is comprised of thoughtful individuals who have made a commitment to our work by including SF Ballet in their will or other estate plans. For information about bequests and other legacy gifts, contact Deputy Director of Development Elizabeth Lani at 415 865 6623 or [email protected].

Jocelyn Vollmar in Marius Petipa’s Don Quixote, circa 1948–1950s60 | SAN FRANCISCO BALLET | PROGRAMS 07 / 08

ENDOWMENT FOUNDATIONThe San Francisco Ballet Endowment Foundation is a separate nonprofit public benefit corporation that holds and manages endowment funds. It is now the third largest source of revenue for SF Ballet after ticket sales and contributions and supports creating new ballets, touring, scholarships and financial aid for SF Ballet School students, and community education and outreach programs.

Donors who make gifts of $25,000 or more to the endowment have a fund created in their name that can provide general support or support designated for specific uses at SF Ballet, SF Ballet School, and SF Ballet’s education programs. For more information, please contact Elizabeth Lani, Deputy Director of Development/Planned Giving, at [email protected] or 415 865 6623.

SF Ballet is honored to list the following named funds that contribute support for the creation, acquisition, and performance of new works. Those highlighted with an asterisk (*) were fully or primarily funded through bequests and other planned gifts.

ENDOWED FUNDS FOR SAN FR ANCISCO BALLET SCHOOL

Philip P. Berelson Scholarship Fund*

The Bertelsen Family Fund

Christopher Boatwright Memorial Endowed Scholarship Fund

S. E. Bush, Jr. School Fund*

Dr. and Mrs. George Cassady Student Scholarship Fund

Harold and Ruby Christensen Scholarship Fund

Ruth A. Copley Endowed Scholarship Fund*

Lee R. Crews School Fund*

Barbara A. Daily Scholarship Fund*

Sonia H. Evers School Fund

The Fifth Age of Man Foundation Scholarship Fund

Rita A. Gustafson Scholarship Fund*

Philip and Alicia Hammarskjold Fund

The William Randolph Hearst Foundation Scholarship Fund

Eric Hellman Scholarship Fund

Chris and Warren Hellman Endowed Scholarship Fund

Rosalie G. Hellman Memorial Scholarship Fund

Hurlbut-Johnson Charitable Trusts Introduction to Ballet Scholarship Fund*

ENDOWED FUNDS FOR EDUCATION PROGR AMS

Suzy Kellems Dominik School and Education Fund

Gaia Fund

Walter & Elise Haas Education Fund

William S. Howe, Jr. Fund*

Mark and Debra Leslie Education and Outreach Fund

Randee and Joseph Seiger Education and Outreach Fund

Joyce Taylor Education Fund

Libby and Craig Heimark Fund

The Marie O’Gara Lipman Endowment for Dance Education in the Public Schools

The James Family Endowed Scholarship Fund

Dorothy and Bradford Jeffries Scholarship Fund

G. William Jewell Dance in Schools Endowed Scholarship Fund*

Dr. and Mrs. Jerome Ormond Kirschbaum Trainee Fellowship Fund

The Charles Henry Leach, II Fund for DISC Scholarships

The Charles Henry Leach, II Fund for School Scholarships

Natalie Lauterstein Miller Memorial Fund

Phyllis W. Nelson Scholarship Fund*

Shirley Black Palmer Scholarship Fund

Yurie and Carl Pascarella Fund

Bob Ross Scholarship Fund

Delores M. Schweizer Fund*

K. Hart Smith Fund*

Natalie H. Stotz Fund*

Helgi Tomasson School Fund for New Work

Charlotte and Harry A. Turner DISC Family Fund

Marion Ury Fund*

Keith White Scholarship Fund

San Francisco Ballet School Trainees // © Erik Tomasson





Jocelyn Vollmar in Marius Petipa’s Don Quixote, circa 1948–1950s

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Jocelyn Vollmar in Marius Petipa’s Don Quixote, circa 1948–1950s

The James Family Endowed Scholarship Fund

Dorothy and Bradford Jeffries Scholarship Fund

G. William Jewell Dance in Schools Endowed Scholarship Fund*

Dr. and Mrs. Jerome Ormond Kirschbaum Trainee Fellowship Fund

The Charles Henry Leach, II Fund for DISC Scholarships

The Charles Henry Leach, II Fund for School Scholarships

Natalie Lauterstein Miller Memorial Fund

Phyllis W. Nelson Scholarship Fund*

Shirley Black Palmer Scholarship Fund

Yurie and Carl Pascarella Fund

Bob Ross Scholarship Fund

Delores M. Schweizer Fund*

K. Hart Smith Fund*

Natalie H. Stotz Fund*

Helgi Tomasson School Fund for New Work

Charlotte and Harry A. Turner DISC Family Fund

Marion Ury Fund*

Keith White Scholarship Fund


*Denotes 2019 subscriberListing correct as of February 14, 2019

THANK YOU TO OUR VOLUNTEERS

Ms. Ann Kathryn Baer, President

Mrs. Michelle Gilman Jasen, Vice President

Patrice Lovato and Stewart McDowell Brady

Co-Chairs

Mrs. Ally Sievers, Recording Secretary

Miss Carla Wytmar, Corresponding Secretary

Rosalyn Chen

Paula Elmore

Ms. Beverley Siri Borelli, Treasurer

Mrs. Robert W. Wood, Events Treasurer

Isaac Hall

Susan Marsch

L E A D E R S H I P

L E A D E R S H I P

The San Francisco Ballet “family” extends beyond the stage to include a large community of dedicated and generous

volunteers who are personally involved in the Company’s success. The tireless efforts of these volunteers contribute

greatly to SF Ballet’s accomplishments.

ALLEGRO CIRCLE Allegro Circle is one of our newest organizations—a small and mighty group of donors who also volunteer their networks and their professional

expertise to SF Ballet. Learn more at sfballet.org/allegrocircle.

A C T I V E M E M B E R S

Ms. Donna Bachle

Ms. Deborah Taylor Barrera

Mrs. Kevin W. Bartlett

Ms. Louisa Basarrate

Ms. Carol Benz

Mrs. Steven Bergman

Ms. Catherine Bergstrom

Mrs. William S. Brandenburg

Mrs. Rada Brooks

Mrs. G. Steven Burrill

Mrs. David John Byers

Mrs. Alston Calabrese

Mrs. Kathleen Coffino

Ms. Katie Colendich

Ms. Rebecca Cooper

Mrs. Courtney Dallaire

Mrs. Patricia I. Dassios

Ms. Melissa del Sol

Mrs. John E. Fetzer

Ms. Jane Gazzola

Ms. Diane Goetz

Mrs. Vincent Golde

Ms. Shelley Gordon

Mrs. Colin Greenspon

Mrs. David Grove

Ms. Lori Harmon

Mrs. Joseph Harris, Jr.

Mrs. Ronald R. Heckmann

Mrs. Christopher Hemphill

Ms. Kathryn A. Huber

Ms. Corey Hyde

Mrs. Jonathan Kaufman

Mrs. Rebecca Kaykas-Wolff

Mrs. Trecia Knapp

Ms. Maureen Knoll

Mrs. Carolyn Koenig

Ms. Claire Stewart Kostic

Ms. Rochelle Lacey

Ms. Brenda Leff

Ms. Betsy A. Linder

Mrs. Carol Louie

Mrs. Rhonda Mahendroo

Mrs. Heather Cassady Martin

Mrs. Emily Millman

Dr. Shokooh Miry

Mrs. Elizabeth Robinson Mitchell

Ms. Monika Moscoso-Riddle

Mrs. Sarah Newmarker

Mrs. Michael O’Sullivan

Ms. Hemalee K. Patel

Mrs. Jack Preston

Ms. Virginia Leung Price

Ms. Kacie Renc

Mrs. Patricia D. Roberts

Ms. René Rodman

Ms. Tiffany Loren Rowe

Ms. Dylan Rumley

Ms. Meg Ruxton

Mrs. James D. Seltsam, Jr.

Ms. Grace Nicolson Sorg

Mrs. Christy Swartz

Ms. Holli P. Thier

Mrs. Andrea Valo-Espina

Mrs. Patrick Walravens

Ms. Amy Wender-Hoch

Mrs. Freddi Wilkinson

Mrs. Eric Wold

Mrs. Ronald Zaragoza

Mrs. Helgi Tomasson,

Honorary Member

S U S T A I N I N G M E M B E R S

Ms. Blanca Aguirre

Jola Anderson*

Mrs. Judy Anderson*

Mrs. James P. Anthony*

Mrs. Thomas G. Austin*

Ms. Rosemary B. Baker*

Ms. Katherine Banks*

Mrs. Patrick V. Barber*

Mrs. Kent T. Baum*

Ms. Alletta Bayer

Mrs. Barbara Bechelli*

Mrs. Peter Berliner*

Ms. L’Ann Bingham

Mrs. John W. Bitoff*

Mrs. Athena Blackburn*

Mrs. Richard A. Bocci*

Ms. Giselle Bosc*

Ms. Caroline Krawiec Brownstone*

Ms. Alison Fogg Carlson*

Mrs. Walter Carpeneti*

Dr. Carolyn C. Chang

Mrs. Allen Chozen

Mrs. Charles E. Clemens*

Miss Robin Collins*

Ms. Christine Leong Connors*

Mrs. Daniel P. Cronan*

Ms. Gail De Martini*

Ms. Carleen Hawn DeLay

Ms. Christine DeSanze*

Mrs. Theodore S. Dobos*

Mrs. David Dossetter*

Mrs. Happy Dumas*

Dr. DiAnn Ellis*

Mrs. Douglas J. Engmann*

Mrs. Christian P. Erdman*

Ms. Patricia Ferrin*

Ms. Dixie D. Furlong*

Mrs. Alison Morr Gemperle*

Ms. Layne Gray*

Mrs. William E. Grayson

Ms. Nonie H. Greene*

Mrs. John P. Grotts*

Ms. Barbara S. Hager

Ms. Catherine D. Hargrave*

Ms. Constance Harvey

Mrs. Michael R. Haswell*

Ms. Terry Hynes Helm*

Ms. Mindy Henderson*

Ms. Kelli Hill*

Mrs. Kurt Hoefer

Mrs. Mavin Howley

Ms. Marie Louise Hurabiell*

Mrs. Michael F. Jackson*

Ms. Daru H. Kawalkowski*

Ms. Lisa A. Keith*

Mrs. James C. Kelly

Mrs. Robert D. Kroll*

Mrs. William D. Lamm

Ms. Jean Larette

Miss Elizabeth Leep*

Mrs. Christopher E. Lenzo

Ms. Debra A. Leylegian*

Mrs. Barry R. Lipman*

Ms. Sheila M. Lippman*

Mrs. John C. Lund*

Mrs. Robert W. Maier*

Ms. Susan A. Malecki*

Ms. Sandra Mandel*

Mrs. Michael L. Mauzé*

Mrs. Lynn McGowin

Mrs. Mark A. Medearis*

Mrs. James J. Messemer

Ms. Laura V. Miller*

Ms. Margaret Mitchell

Mrs. Timothy Michael Monahan

Mrs. Dennis Mooradian

Mrs. Jane S. Mudge

Ms. Vickie Nelson*

Mrs. Robert L. Newman*

Mrs. Peggy L. Newton*

Ms. Carole A. Obley*

Ms. Margrit Paul

Mrs. Edward Plant*

Mrs. Nick Podell*

Dame Tanya Marietta Powell*

Ms. Maria K. Ralph*

Mrs. Todd G. Regenold*

Ms. Katherine Robertson*

Ms. Lorrae Rominger*

Ms. Stephanie B. Russell

Mrs. Jay Ryder*

Ms. Isabel M. Sam-Vargas*

Ms. Ellen Sandler*

Mrs. Elaine Wong Shen*

Ms. Merrill Randol*

Mrs. John P. Shuhda

Ms. V’Anne Singleton*

Ms. Karen L. Skidmore*

Mrs. Susan Solinsky*

Mrs. Mathew Spolin*

Mrs. Terrence M. Hazlewood*

Mrs. Jerome J. Suich II

Mrs. Judy Swanson*

Ms. Jody K. Thelander*

Mrs. Charles V. Thornton*

Ms. Valerie D. Toler

Ms. Elizabeth W. Vobach*

Mrs. Gregg von Thaden*

Ms. Barbara Waldman*

Mrs. Wallace Wertsch*

Mrs. Aimee West*

Ms. Patricia Wyrod*

AUXILIARY Vibrant, energetic, and passionately committed to the success of each ballet season, SF Ballet Auxiliary members comprise an exclusive group

of women who leverage their talents in fundraising events that raise more than $4 million for SF Ballet each year.

Gregg Mattner


Steve Merlo, President

Kathryn Roberts, Vice President

Patricia Knight, Secretary

Paulette Cauthorn

Martha Debs

Joan Green

Julie Hawkins

Giovanna Jackson

Pirkko Lucchesi

Daniel Cassell, President

Elizabeth Sgarrella, Vice President

Jamie Lee Taylor, Secretary and Gala Chair

Susan Lin, Treasurer

Christopher Correa, Immediate Past President

Jacqueline Barrett

Jeannie Gill

Alana Naber

Gary Williams

Maggie Winterfeldt Clark

Angela Zhang

L E A D E R S H I P

L E A D E R S H I P

SAN FRANCISCO WAR MEMORIAL & PERFORMING ARTS CENTER

ENCORE! If you’re a young professional who loves dance and a great party, join our 300 plus ENCORE! members at a wide variety of social, educational,

and networking events. Learn more at sfballet.org/encore.

BR AVO Each year BRAVO members contribute a collective total of more than 14,000 hours of volunteer assistance to SF Ballet. In the process they get

a personal close encounter with the inner workings of the world of SF Ballet. Learn more at sfballet.org/bravo.

We are pleased to recognize BRAVO members who contributed 40 hours or more during the 2017–18 Season.

2 5 0 + H O U R S

Corine Assouline*

Paulette Cauthorn

Martha Debs

Julie Hawkins

Giovanna Jackson*

Patricia Knight

Suzanne Knott*

Pirkko Lucchesi

Dosia Matthews

Steve Merlo

Twyla Powers

1 0 0 - 2 4 9 H O U R S

Margaret Anderson

Carolyn Balsley

Philip Fukuda*

Joan Green

James Gries*

Susanne Johnson

Kathy Judd

Elmira Lagundi*

Sabrina Leong

John Mazurski

Roberta McMullan

Patricia Nelson

Deric Patrick

Sherri Relerford

Kathryn Roberts

Pauline Roothman

Herm Sinoy

Lacy Steffens

Karen Wiel*

Michael Williams

Steve Wong

May Yasui

5 5 - 9 9 H O U R S

Marilyn Breen

Jenny Au-Yeung

Jenya Bordas

Jon Borset

Monique Bouskos

Julie Brown-Modenos*

Klara Cheung

Hao Do

Doris Duncan

Vicente Garcia

Keiko Golden

Roger Green

Lydie Hammack

Carolyn Hutchinson

Robin Kinoshita

Carrie Kost

Christine Lasher

Maria Lawrence

Cyndy Lee*

Lucy Lo

Margaret McCormack Wilcox

Keiko Moore*

Gale Niess

Deborrah Ortego

Johanna Payne

Sue Plasai

Sara Pope

Mercedes Rodriguez

Blaine Shirk

Eileen Soden

Stephanie Somersille

Tracy Stoehr

Elena Sukhovnina

Sherrie Szalay*

Susan Warble

Daphne Wray

Eve Zhang

4 0 - 5 4 H O U R S

Edie Bazjanac

Justin Chew

Jeanette Chudnow

Pamela Clark

Donna Diseroad

Linda Drake

Inna Edwards

Janet Gamble

Piers Greenhill

Cindy James

Susan Kalian

Kiyoshi Kimura

Kenneth Kitch

Aldona Lidji

Betsy Lim

John Maher

Linda Miyagawa*

Sara Osaba

Elizabeth Price

Susan Sakai-McClure

Anne Snowball*

Erika Stuart

Joshua Theaker

Steve Trenam

Audrey Tse Treanor

Sylvia Walker*

Stephen Wiel*

Stas Yurkevich

The War Memorial Opera House is owned and operated by the City and County of San Francisco through

the Board of Trustees of the War Memorial of San Francisco.

T R U S T E E S

Nancy H. Bechtle, President

Vaughn R. Walker, Vice President

Belva Davis

Thomas E. Horn

Lt. Col. Wallace I. Levin, CSMR (Ret.)

Gorretti Lo Lui

Mrs. George R. Moscone

MajGen J. Michael Myatt, USMC (Ret.)

Paul F. Pelosi

Charlotte Mailliard Shultz

Diane B. Wilsey

Elizabeth Murray, Managing Director

Jennifer E. Norris, Assistant Managing Director

The Honorable London N. Breed, Mayor

*Denotes 2019 subscriberListing correct as of February 14, 2019

Ms. Beverley Siri Borelli, Treasurer

Mrs. Robert W. Wood, Events Treasurer

The San Francisco Ballet “family” extends beyond the stage to include a large community of dedicated and generous

volunteers who are personally involved in the Company’s success. The tireless efforts of these volunteers contribute

greatly to SF Ballet’s accomplishments.

ALLEGRO CIRCLE Allegro Circle is one of our newest organizations—a small and mighty group of donors who also volunteer their networks and their professional

expertise to SF Ballet. Learn more at sfballet.org/allegrocircle.

AUXILIARY Vibrant, energetic, and passionately committed to the success of each ballet season, SF Ballet Auxiliary members comprise an exclusive group

of women who leverage their talents in fundraising events that raise more than $4 million for SF Ballet each year.

*Denotes 25 or more years of BRAVO membership

LAST WORDS ON THE LIT TLE MERMAID

Yuan Yuan Tan and Tiit Helimets in Neumeier’s The Little Mermaid // © Erik Tomasson

“Then she dived deeply under the dark waters, rising and falling with the waves,

till at length she managed to reach the young prince, who was fast losing

the power of swimming in that stormy sea. His limbs were failing him, his beautiful eyes

were closed, and he would have died had not the little mermaid come to his assistance.

She held his head above the water, and let the waves drift them where they would.”

—“The Little Mermaid” by Hans Christian Andersen


THIS IS BALLETSFBALLET.ORGProgramming subject to change

San Francisco Ballet in Liang’s The Infinite Ocean // © Erik Tomasson

SF BALLET SCHOOL 2020 SPRING FESTIVALMAY 20–22 Yerba Buena Center for the Arts

CINDERELLA JAN 21 – JAN 26

CLASSICAL (RE)VISION FEB 1 1 – FEB 22

Bespoke

Hummingbird

Sandpaper Ballet

DANCE INNOVATIONS FEB 13 – FEB 23

The Infinite Ocean

Trey Mclntyre World Premiere

Etudes

A MIDSUMMER NIGHT’S DREAM MAR 06 – MAR 12

BALLET ACCELERATOR MAR 24 – APR 04

7 for Eight

Cathy Marston World Premiere

Anima Animus

PRESENT PERSPECTIVES MAR 26 – APR 05

Appassionata

The Seasons SF Ballet Premiere

In the Countenance of Kings

JEWELS APR 15 – APR 21

Emeralds

Rubies

Diamonds

ROMEO & JULIET MAY 01 – MAY 07

1

2

3

4

5

6

7

8

J A N 2 1—M AY 0 7



THIS IS BALLETSFBALLET.ORGProgramming subject to change

San Francisco Ballet in Liang’s The Infinite Ocean // © Erik Tomasson

SF BALLET SCHOOL 2020 SPRING FESTIVALMAY 20–22 Yerba Buena Center for the Arts

CINDERELLA JAN 21 – JAN 26

CLASSICAL (RE)VISION FEB 1 1 – FEB 22

Bespoke

Hummingbird

Sandpaper Ballet

DANCE INNOVATIONS FEB 13 – FEB 23

The Infinite Ocean

Trey Mclntyre World Premiere

Etudes

A MIDSUMMER NIGHT’S DREAM MAR 06 – MAR 12

BALLET ACCELERATOR MAR 24 – APR 04

7 for Eight

Cathy Marston World Premiere

Anima Animus

PRESENT PERSPECTIVES MAR 26 – APR 05

Appassionata

The Seasons SF Ballet Premiere

To be announced

JEWELS APR 15 – APR 21

Emeralds

Rubies

Diamonds

ROMEO & JULIET MAY 01 – MAY 07

1

2

3

4

5

6

7

8

J A N 2 1—M AY 0 7

Untitled-2 1 3/5/19 2:41 PM

http://hermes.com

Documents

2019 SEASON PROGRAMS 07 THE LITTLE MERMAID / …5 Welcome to The Little Mermaid and Shostakovich Trilogy, the final two programs of our 2019 Season. These deeply engrossing works were