CINCINNATI BALLET LEADERSHIP

VICTORIA MORGAN

THE SUE & BILL FRIEDLANDER ARTISTIC DIRECTOR Cincinnati Ballet has Camelot, the new Nutcracker and her revised choexperienced tremen- reography for Cinderella. Morgan was instrumental dous growth and suc- in fundraising efforts to secure support for Cincincess under the leader- nati Ballet’s iconic nine-studio brand new facility, ship of Victoria Morgan, scheduled to open in June 2021. With Cincinnati now in her 24th season. In Ballet’s administrative and artistic team, Morgan 2008, Morgan took on the responded to COVID-19 in a creative and scirole of executive leader, serving as both the Artis- ence-based way, enabling Cincinnati Ballet to safely tic Director and CEO. Under her leadership, after present one of the nation’s first ballet performancyears of growing deficits, the company stabilized its es—with an audience! It took place outdoors at the finances, built a $13 million endowment fund (to- Procter & Gamble Pavilion in September 2020. day at $14.5 million), created an operating reserve, Prior to coming to Cincinnati Ballet, Morgan was presented several million-dollar capital projects, resident choreographer for the San Francisco Opand expanded the Otto M. Budig Academy and era and a Principal Dancer for San Francisco Ballet Community Engagement programming. In 2017, and Ballet West. She served on numerous boards with the arrival of Scott Altman, Victoria became including Dance USA, Dance Magazine, the NEA a full-time Artistic Director, giving her the oppor- evaluation panel, and was a judge for several Intertunity to focus exclusively on artistic excellence. national Ballet Competitions. Morgan graduated During her tenure at Cincinnati Ballet, Morgan Magna Cum Laude with an M.F.A. from University choreographed numerous one-act and full-length of Utah and was honored as a YWCA Career Womballets, including world premieres of King Arthur’s an of Achievement in 2009.

SCOTT ALTMAN

PRESIDENT + CEO Scott Altman joined Cincinnati Ballet as President & CEO in September 2016. Under his visionary leadership, Cincinnati Ballet has reached many noteworthy milestones, including its first $10 million operating budget, a dynamic new logo and brand identity, record-breaking ticket sales, the new Family Series, and expanded community and education programs. To accommodate this incredible growth, Altman launched a capital campaign to construct a new, larger, state-of-the-art ballet center. The $31 million dollar project is nearing complete funding and the Cincinnati Ballet Margaret and Michael Valentine Center for Dance is on track to open in summer 2021 in Walnut Hills. During his tenure, Altman has been honored for two consecutive years by Cincinnati Magazine in its Cincinnati 300— a compilation of the city’s top 300 executives, and currently serves on the Board of DanceUSA as Executive Managers Council Chair as well as Trustee on the Board of Ohio Citizens for the Arts. Altman brings with him nearly three decades of experience in nonprofit administration and performing arts. Prior to his roles in administration, Altman enjoyed a 20-year career as a professional opera singer and performed 40 opera roles internationally. He has held leadership positions at Arizona Opera and Opera New Jersey, and just prior to coming to Cincinnati Ballet he was Executive Director of Ballet West. During his tenure, Ballet West experienced phenomenal expansion, including growth in ticket sales, a vastly expanded touring schedule, robust growth in donor development, and the construction of a new building. He is an alumnus of the Manhattan School of Music and the State University College at Purchase. Altman attended Stanford University’s Executive Program for Nonprofit Leaders, was a Utah Business 2016 CEO of the Year Honoree and is a three-time recipient of the New Jersey State Council on the Arts Citation of Excellence Award.

CARMON DELEONE

MUSIC DIRECTOR Carmon DeLeone, Music Director of Cincinnati Ballet for over 50 years and Conductor Laureate of The Illinois Philharmonic Orchestra and The Middletown Symphony, has served as Conductor and Host of the Family Concert Series at New York’s Carnegie Hall and has conducted orchestras in Germany, England, Luxembourg, Canada, and Puerto Rico. Under his leadership, The Illinois Philharmonic was twice named “Illinois Orchestra of the Year.” He has composed many original scores for the ballet. His best-known work, Peter Pan, is frequently performed nationally and overseas. As Assistant, and later Resident Conductor of the Cincinnati Symphony Orchestra, DeLeone served on its staff with Music Directors Max Rudolf, Thomas Schippers, Walter Susskind, and Erich Kunzel. He was also selected by Maestro Erich Leinsdorf to participate in an intensive master conducting seminar at Lincoln Center. He possesses a wide range of musical interests and is experienced in both the classics and jazz, whether leading his own “Studio Big Band” from the drum set or playing the French horn in both idioms. Maestro DeLeone made his New York conducting debut with the Alvin Ailey American Dance Theater at City Center, and his Carnegie Hall debut with the Orchestra of St. Luke’s. DeLeone is a recipient of the Post-Corbett Award and most recently was awarded the esteemed MacDowell Medal by the Cincinnati MacDowell Society. His very popular weekly radio show, Sunday Morning Music Hall, can be heard on WDJO-FM 99.5 & 107.9 and AM 1480.

SUZETTE BOYER WEBB

DIRECTOR OF SECOND COMPANY Suzette Boyer Webb Teacher of the Year award. joined Cincinnati Bal- As the Director of Cincinnati Ballet’s Second let in 1979. As a Prin- Company – CB2 and Young Performers Ballet cipal Dancer, under the Master, Webb has been instrumental in providing direction of David Mc- technical and artistic learning opportunities to the Clain, Frederic Franklin, CB2 and Academy dancers in various Cincinnati and Ivan Nagy, she danced Ballet productions, including the highly successful classical and contemporary roles in works by cho- Cincinnati Ballet Family Series. Webb has choreoreographers Frederic Franklin, Ivan Nagy, George graphed numerous works for the Cincinnati Ballet Balanchine, Ruth Page, Peter Anastos, John But- Second Company. She has staged many ballets, inler, Sir Kenneth McMillian, Ben Stevenson, James cluding children’s roles for Victoria Morgan’s The Truitte, Lester Horton, and Vincente Nebrada. Nutcracker, in Cincinnati; Anchorage, Alaska; at Upon her retirement from Cincinnati Ballet, Webb the Kennedy Center for the Arts in Washington, served on the Dance Division faculty at the Univer- D.C.; and at the at the Detroit Opera House. sity of Cincinnati College-Conservatory of Music. Webb has worked nationally as guest teacher, There, she was awarded The Outstanding Adjunct adjudicator and panelist.

CERVILIO MIGUEL AMADOR

BALLET MASTER Cervilio Miguel Amador trained with the Vocational Ballet School in Camagüey,

Cuba and National

Ballet School of Cuba. He danced with the National Ballet of Cuba as a corps de ballet dancer and corifeo (demi-soloist) before joining Cincinnati Ballet in 2004 as a Soloist. He was promoted to Senior Soloist in 2005 and Principal Dancer in 2006 and has danced numerous lead roles in full-length ballets throughout his extensive career at Cincinnati Ballet, including Romeo in Romeo and Juliet, King

Arthur in King Arthur’s Camelot, Puck in A Midsummer Night’s Dream and Peter in Peter Pan. He has also had several new works created on him by esteemed contemporary choreographers such as Adam Hougland, Jennifer Archibald, Ma Cong, and Victoria Morgan. In 2014, Amador was invited to perform at Lumenocity on a balcony suspended on Cincinnati’s Music Hall as part of the renowned light show and has been invited three times to dance at the Titas Command Performance Gala in Dallas, Texas, among several of the top ballet dancers in the world. He is currently a Ballet Master of Cincinnati Ballet and Co-Artistic Director/Founder of Moving Arts Cincinnati.

DALE SHIELDS

BALLET MASTER Dale Shields trained at the University of North Carolina School of the Arts and Butler University before joining Indianapolis Ballet Theatre, where she rose to principal dancer under artistic director George Verdak. Shields performed principal roles in productions including Giselle, The Sleeping Beauty, Swan Lake, The Nutcracker, Romeo & Juliet, A Midsummer Night’s Dream, Coppélia, Night Shadow, The Moor’s Pavane, and many original works. She served as Principal Ballet Mistress for Ballet Internationale, assisting with the original choreography of full-length ballets by artistic director Eldar Aliev and worked alongside Irina Kolpakova in staging many well-known classics. Accepting Artistic Director John McFall’s invitation to join Atlanta Ballet as Ballet Mistress gave her the opportunity to assist in mounting numerous full-length productions. She assisted on works by inspiring national and international choreographers including Alexander Ekman, Helen Pickett, Twyla Tharp, Liam Scarlett, Alexei Ratmansky, David Bentley, Annabelle Lopez Ochoa, and Amy Seiwert, among others.