Season Encore Program - Pacific Northwest Ballet

PAC I F I C N O RT H W E S T B A L L E T

June 28014

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(above) Kaori Nakamura and Peter Boal in Coppélia, choreography by George Balanchine © The George Balanchine Trust. © Angela Sterling.

he was only 15 when she won, making her the youngest winner in history of the Prix de Lausanne. As a first- prize winner, she was allowed to select the training academy of her choice and she chose George Balanchine’s School of American Ballet in New York. Though a few years older than Kaori Nakamura, I too was a ballet-obsessed teen back then and was curious to see this phenom who was headed for SAB. I remember the day; we had a break in our rehearsals for New York City Ballet and headed over to studio #2 to check her out. There stood a pristine gem of a ballerina, her impeccable work ethic and crystalline technique already in evidence. Star quality is something you’re born with and Kaori Nakamura had it.

I soon met Kaori and had the honor of dancing in the same performance with her in Osaka, Japan two years later, but lost track of her until, to my pleasant surprise, I found her in Seattle almost 20 years later.

Kaori, the ballerina has been delighting audiences in every major role during the course of her illustrious career. I couldn’t pick a favorite role of hers if you asked me, though Swan Lake, Aurora and Giselle would come to mind. But how many ballerinas can also take on a role such as the quirky street kid in Twyla Tharp’s Afternoon Ball to such stunning effect.

Kaori’s peers are equally in awe of Kaori, the person, a quintessential professional, a supportive co-worker, a generous teacher, and a true friend. To say the male dancers line up outside my door asking to dance with her is no exaggeration. I even came out of retirement to be Dr. Coppelius opposite her Swanilda.

My fondest memory of Kaori is during dancer evaluations in my second year, which ended up being a rough one. At the end of our conversation, Kaori looked at the HR director and then at me and said, “Can I hug you?” I almost cried. This is the Kaori we know and love. Brava!

Kaori Nakamura is from Gumma, Japan. She trained at the Reiko

Yamamoto Ballet Company and the School of American Ballet. In 1986, she won first prize at the 14th Prix de Lausanne competition in Lausanne, Switzerland. In 1988, she won a bronze medal at the International Ballet Competition in Varna, Bulgaria. Ms. Nakamura joined Royal Winnipeg in 1990, where she was made a principal dancer. She joined Pacific Northwest

Ballet as a soloist in 1997 and was promoted to principal in 1998. Ms. Nakamura performed the role of the Butterfly in the BBC’s 1999 film version of PNB’s production of Balanchine’s A Midsummer Night’s Dream, filmed at Sadler’s Wells Theatre, London. She has performed as a guest artist at the Hong Kong Arts Festival and the Melbourne Ballet Festival and with Dancers for Life in Vancouver, British Columbia.

To make a PNB gift in honor of of Kaori Nakamura and/or D. David Brown, please call 206.441.3593, or mail to 301 Mercer St. Seattle, WA ATTN: Gifts in Honor

(cover) Kaori Nakamura. (opposite, l-r) Andrew Bartee and Jerome Tisserand in Dancing on the Front Porch of Heaven. Liora Neuville in Swan Lake. © Angela Sterling.

REVOIR From Peter

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couldn’t have asked for a better partner when I arrived at Pacific Northwest Ballet nine years ago. D. David Brown brought a level of experience, wisdom, and thoroughness to PNB that is beyond measure. His patience and guidance have been indispensable.

David was always willing to make the difficult decisions when they needed to be made and to offer reward and praise when it was deserved. For years to come, we will ask, “What would David do in this situation?” How lucky this company has been to have such knowledgeable leadership.

(l-r) D. David Brown and Peter Boal with Company dancers. Photo courtesy of The Stranger.

Often the greatest strengths of an arts institution are found off stage, and though individuals like David don’t step before the curtain to take a bow, they are deeply appreciated. So much of what we enjoy today and will know tomorrow is due to David’s selfless stewardship of our institution. Thank you, David.

D. David Brown

PNB Executive Director

D. David Brown joined PNB as Executive Director in May of 2000. His ballet career began at Boston Ballet, where he rose through the ranks to principal dancer. Upon his retirement from performing, he became Boston Ballet’s Director of Production, then General Manager from 1983–1998, and Executive Director until June 1999.

At PNB, Mr. Brown strengthened the administrative staff, guided strategic plan implementation, and refined financial management and budget processes, while forging a strong working partnership with new Artistic Director Peter Boal. His background provided the unique perspective of both

artist and manager, and his experienced leadership has been one of PNB's greatest assets.

Mr. Brown has served as Chairman of the Board of Trustees of Dance/USA and is a past chair of the Dance/USA Manager's Council. He currently serves as a Trustee of the American Guild of Musical Artists (AGMA) Retirement Plan & Health Fund and is past President of the Board of the Washington State Arts Alliance. Appointed by Governor Gregoire, he also served as a member of the Washington State Arts Commission. This month Mr. Brown, will be honored with the Dance/USA Ernie Award.

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hat a pleasure it has been for all of us to watch Andrew Bartee develop from somewhat awkward student to phenomenal performer. Andrew moves like none other, not only with flexibility and intensity, but with intelligence and musicality. There’s not a visiting choreographer that hasn’t wanted to play with Andrew’s talent. How fortunate we are to see Andrew’s own choreographic voice develop. As hard as it is to watch him leave PNB at such a young age, we know that Andrew needs to try his wings, and we also know that he’ll fly high enough that we’ll be able to appreciate this artist wherever his talents take him.

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ike Kaori Nakamura, Liora Neuville came to us through the Prix de Lausanne competition, where Francia Russell was a judge. Francia recommended to Liora that she study at Pacific Northwest Ballet School. Exquisite in port de bras, épaulement, and sheer delicacy, Liora’s one that not only seems to have her own follow spot when she’s in the corps de ballet but also shines in countless featured roles. We will miss her unique artistry and sweet demeanor.

“ There were chills in the air…I came backstage to them and said, ‘ That was just amazing. I have this little Top 10 list in my head of the greatest performances I’ve seen in my whole career and I just had to bump one out and put you guys in there.’ ” —Artistic Director Peter Boal regarding Kaori Nakamura’s 2009 Swan Lake performance with Lucien Postlewaite.

“Kaori Nakamura and James Moore were perfectly suited, both physically and emotionally. Despite being one of PNB’s most serious technicians, Nakamura softened for the role, optimizing a playful, yet fierce and fiery young Juliet.”

—Gabrielle Nomura, seattledances.com

(top-bottom) Kaori Nakamura with Lucien Postlewaite (Swan Lake), and with James Moore (Roméo et Juliette). © Angela Sterling. (opposite) Kaori Nakamura in The Sleeping Beauty. © Lindsay Thomas.

“Kaori Nakamura…brought a touch of self-effacing courtesy—a beautiful layer of expression beyond anything in the glorious music.”

“As the teenage princess, Nakamura was all lightness; seemingly dancing somewhere above the floor, in a happy cloud…in the famous Rose Adagio, the character work stayed strong despite the technical demands: After a beautifully deep arabesque, she tossed her partner a coquettish little smile.”

—Moira Macdonald, The Seattle Times

—Alastair Macaulay, The New York Times

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KAORI NAKAMURA

In the history of PNB Kaori Nakamura holds a unique place: consummate artist that she is, she is also the dancer who has been the most universally beloved by her colleagues. The dancers call her “Kitty” not only because of her love of all things “Hello Kitty” but because it suits her sweet playfulness and expresses their affection.

Playful Kaori may be, and sweet she certainly is, but the seriousness with which she serves her art is stunning to observe and admired by all who work with her. It goes without saying that she is superb in all the great classical roles demanding virtuoso technique but she has also given herself with an open mind and great generosity to interpreting the work of countless contemporary choreographers. It is no wonder that virtually every guest of PNB has wanted to use her gifts. And just ask the men in the Company how much they love dancing with her!

We treasure so many memories of the vast repertoire Kaori has danced with PNB but two roles will remain forever linked with her in our minds: her flirtatious, captivating Valencienne in Ronald Hynd’s The Merry Widow and her rapturous, tender, and ultimately heart-breaking Juliet in Kent’s The Tragedy of Romeo & Juliet. Both made us smile and cry at many rehearsals and at every performance.

Playful Kaori may be, and sweet she certainly is, but the seriousness with which she serves her art is stunning to observe and admired by all who work with her.

Kaori has that rare ability to bring forth many emotions: admiration, joy, laughter and tears.

Her quiet reserve is respectful of everyone yet she can laugh at, and with, her colleagues and, most charmingly and unforgettably, at herself. There are a lot of tears backstage today as we watch her make a beautiful farewell while still at the height of her powers. Making this choice cannot have been easy but, with her characteristically clear thinking, she has decided to devote herself to passing on her knowledge and to having, at last, more time with John and Maya, her wonderful family.

With love and admiration we thank Kaori for the inspiration and the joy she has given to us, to her colleagues and to her audience over the 17 years she has graced Seattle with her sweet beauty and her art.

Kent & Francia

Kent Stowell & Francia Russell PNB Founding Artistic Directors

(top-bottom) Childhood photos; Kaori Nakamura with Olivier Wevers in The Tragedy of Romeo and Juliet and with Christophe Maraval in The Merry Widow. (opposite) (2013-14) Company dancers, artistic staff, and guest choreographers. © Angela Sterling, Lindsay Thomas, and Roger Miller. (back cover) Kaori Nakamura. © Lindsay Thomas.