PROGRAM: Bravo 2001-02 Winter Opera and Dance

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PERFORMANCE is a commitment to Excellence

its commitment to excellence in every performance , the Michigan Opera Theatre inspires , enthralls and delights us. It enriches our lives.

The MASCO family of companies proudly supports the Michigan Opera Theatre's great productions in its 2001- 2002 season. They are outstanding contributions to the cultural life of Michigan and we extend our best wishes for a sensational season.

Cour tesy oj Michigan Opera Tbealre

The Official Magazine of the Detroit Opera House

BRAVO IS A MICHIG AN OPERA THEATR E P UB LI CATION

Dr. David DiChiera , General Director

Laura Wy ss , Editor

Matthew S. Birman , Asso ciate Editor

CONTRIBUTORS

Dr. David DiChiera

Michigan Opera Th eatre Staff

P UB LISHER

Live Publishing Company

Frank Cucciarre , Design and Art Direction

Jud y Beveridge, Production Coordinator

Chu ck Rosenberg , Copy Editor

Toby Faber, Director of Adv ertising Sal es

O N THE COVER

Cove r Design b y Frank Cu cciarre, Blink Conc ept & Design

Michiga n Opera Theatre wo uld lik e to thank Harmony H ouse Records for d onatin g season recordings and videos.

Physicians ' service provided b y Henry Ford Medical Cente r.

No rthw es t Airlines is the offi cia l Air line of Mic hi gan O p era Thea tre.

Pepsi-Co la is the official soft drink and j uice pro vider for th e Detroit O pera Hou se.

Steinway is the o ffici al pian o of th e Detroi t Ope ra Ho use an d Michiga n Ope ra Thea tre. Steinway p ia n os are p rovi ded b y Hamm el Musi c, exclus ive re p rese ntative for Steinway and So n s in Michi gan.

President Tuxedo is the official provider of formal wear fo r the Detroit O p era Ho u se

Mic hi gan Opera Thea tre is a n on profit cultural organiza ti on wh ose activi ti es are sup p orted in part by the Michigan Council fo r Arts an d Cultural Affairs, th e National En dowment for th e Arts, an d other in dividuals, corporations and fou nd ati o ns . Michigan Opera Th ea tre is an Equal Opportu nity Employe r.

Building on our Successes

Dear Friends ,

The opening of the Detroit Opera House in 1996 brought not only grand opera, but also extraordinary dance performances to this magnificent stage and auditorium . For the past five years, we have been deeply committed to staging the greatest in dance programming; our 2001-2002 DaimlerChrysler Dance Series, which began with Tango Pasion , continues this tradition.

Our exciting dance season continues with the Detroit Opera House debut of the ever-popular Danc e Theatre of Harlem in February, and th e return of American Ballet Theatre with a lavish production of Le Corsaire in March. Of course, a dance season is not complete without the annual holiday tradition of The Nutcracker, which takes the stage once again in December. By popu lar d eman d , we are also pleased to present, for the second season, The Joffrey Ballet of Chicago, March 9 and 10. We again present th e Joffrey Ballet of Chicago, with special support from Detro it Friends of The Joffrey Ballet of Chicago.

Our deep est gratitude goes to the DairnlerChrys ler Corporation Fund, which has sponsored every dance series since 1996. This season, the DairnlerChrysler Corporation Fund will also serve as the production sponsor for Dance Theatre of Harlem . Special thanks also to Bank One for

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sponsoring Th e Nutcracker, with additiona l support from Gannett Foundation and Th e Detroit News, media partner. In addition to our corporate sponsors, we especially thank those individual s who ha ve made dance at the Detroit Opera Hou se possible: Maggie and Bob Allesee, Marlene and John Boll, Margo Cohen, David Handleman, Audrey and Irving Rose, the Shirley Schlafer Fund, and Pearl and George Zeltzer. These generous individuals have demonstrated a strong commitment to the cultural well-being of our community and the importance of dance to the arts in our city

While we remain steadfast to our mission of presenting a world-class dance series , we still ha ve a great deal of work to do to ensure its future. We can't achieve this alone; we need your support. We hope you will introduce a friend to the world of danc e to help crea te the audiences of tomorrow and ensure the future of dance in Detroit.

Enjoy the performance I

David DiChiera Founder and General Director Michigan Opera Theatre/Detroit Opera Hou se

Detroit Opera House

A Detroit Holiday Tradition

An old m an , tired and uninspired , ambles abou t his room. We rec ognize him as author ETA. Hoffman only when he is trans formed with creative energy and is in spired to write a new story As the w ork b egins, the authors vivid imagination tr an sports us to the home of th e Van Stahlbaums. Th e action is frozen , and Hoffm an prepares to choo se a main character. H e sees something spec ial in a yo ung girl. Hoffman casts the girl as Clara and himself as the m ys terious H e rr Dro sscl m cycr

Act I

The Von Stahlbaurns and their ch ildren , Clara and Flitz , are ho st in g a Christmas party As the guests ce lebrate, the party is interrupt ed by the surprise a rri va l of the eccentric H err Drosselmeyer. As us u al, h e delights the crowd with wonderful gifts and magical toys Drosselmeyer gathers the children and, using life-size dolls as props , tells them the story of "The Nutcracker and the Sugar Plu m Fairy"

The Story of the Nutcracker and the Sugar Plum Fairy

In a faraway land called th e Kingdom of the Sweets, there lived th e hand so me Nutcracker Prince and th e Sugar Plum Fairy. Th e two were Vel) mu ch in lo ve and anxiously awaited th e day they would be marri ed . Befo re th e gl0110US wed ding day, the Mouse Queen Rathilda gre w j ealous, becaus e she was neither beautiful nor in lov e. Out of spite, Rathilda tri ed to steal th e Sugar Plum Fairy's beauty, but th e N utcracke r Prin ce stopped her. Angry with th e Princ e, Rathilda cast an ev il spell, turning him into an ugly wood en nutcracker.

After Dro sselmeyer's story, all the children except Clara return to the party. Th e Von Stahlbaums' daughter is a gir l wi th a romanti c sou l, and she cannot bea r the

10 BRAVO

thought of th e Princ e being se parated from hi s true lo ve. She asks Dros sel meye r if anything can be don e to help the Nutcracker Prince. Dros sel meyer tells Clara that , if she is willing to go through great trial s, she can help , and gives her the nutcracker doll. Clara's imp etuou s littl e broth el; jealous of th e att ention his sister receives , brea ks the dol l. Drosselm eyer plac es the doll undern eath th e tree, and the party co ntinu es.

Unable to sleep that eveni ng, Clara goes downstairs around midnight to chec k on her do ll and is fri ghtened by a group of large mice. Wh en th e mice turn on Clara and she is about to sacrifice her life for the Nu tcra cker; Dro ssel meye r interve nes . Impressed by Clara's brav e act, Drosselm eyer teac hes her magi c.

Dro ss elmeyer th en vanishes as qUickly as he ap peared , and Clara fac es her nex t trial. Ju st as th e Mou se King is about to defe at th e Nutcracker; Clara summons all her strength and bravery, and slays the vil e rodent. Rathilda's spell is broken, and th e Nutcrac ker returns to his human form as the handsom e Prin ce Et ern ally gra tefu l to Clara, the Nutcracker Prin ce tak es her to

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see th e extraordinary Kingdom of th e Sweets.

-IntermissionAct II

Dro sse lm eyer; wielding the unlimited pow er of the author's imagination , prepares th e Kingdom of th e Sweets for Clara's visit and vanis hes befo re she arrives. Th e Nu tcrac ker Prin ce introduces Clara to the Sugar Plum Fairy, th e King and Queen, and the wedding ceremony begins. An array of delicious entertainment awaits. Th ere are the exo ti c Spanish, Arabian, Chin ese, and Ru ss ian danc es, followed by the Littl e Shepherds Th en the magnificent Walt z of th e Flowers begins. Fina lly, the Nutcracker Princ e and the Sugar Plum Fairy danc e a romantic pas de deux for Clara Dro ssel meyer appears and tell s Clara it is tim e to go

Epilogue

Still at his de sk, E. IA. Hoffman comp letes the final chapter of a story that he hopes will teac h and inspire generations to come m

Artist Profiles

The Artistic Staff

IRINA KOLPAKOVA

Assistant Artistic Director

Former Prima Ballerina Assoluta of the Kirov Ballet and favorite partner of Mikhail Baryshnikov and Rudolf Nureyev, Irina Kolpakova is widely recognized as one of the finest ballerinas in the last half-century Ms. Kolpakova joined the Kirov in 1950 and danced leading roles in all major ballets including Stone Flower , Legend oj Love, The Creation oj the World, TIle Nutcracker, Raymonda , Romeo and juliet , Les Sylphides, Otello, Giselle , Cinderella, Don Qltixote and La Bayadere during her illustrious 38-year career She was the undisputed star of the Kirov's first tours to the United States in 1961 and 1964, enchanting audiences with her interpretation of Princess Aurora in The Sleeping Beauty, regarded by many as the most beautiful of our time

The last pupil of Agnppina Vaganova, famed founder of modern ballet education, Ms. Kolpakova has garnered many prestigious awards, including People 's Artist of the Soviet Union and the Anna Pavlova Prize. She is a remarkable teacher and coach , and is a jurist in several international ballet competitions in Russia, japan and the United States Prior to joining Ballet Internationale , Ms. Kolpakova served as ballet mistress at the American Ballet Theatre in New York.

DALE SHIELDS

Principal Ballet Mistress

Ms Shields is a former principal dancer with Indianapolis Ballet Tlieatre , where she appeared in lead roles in many productions, including Giselle , TIle Sl eeping Beauty, Swan Lak e, Th e Nutcrachel; Romeo andjltliet, Gaite Parisienne , A Midsummer Night's Dream and Coppelia, as well as George Balanchines Night Shadow and Jose Limons The Moor's Pavane. Ms. Shields was invited by former artistic director George Verdak to perform and assist in the staging of the Russian premiere of the ballet Le Bal in St. Petersburg, Russia. As ballet mistress fo r Ballet Internationale , she has been responsible for assisting in the staging of Eldar Aliev's The Nutcracker , A Thousand and One Nights, and The Firebird. Ms. Shields has also assisted in the s taging of Alberto Alonso's Carmen , Martin Fredmanns Cinderella, Agnes de Milles Rodeo and Val Caniparolis Lambarena (in Indianapolis and Pretoria , South Africa). A native of Winson-Salem, North Carolina , Ms. Shields studied at the North Carolina Sch ool of the Arts as well as the joffrey School and Butler University, and has been a guest performe r and teacher across the United States

TATIANA PAll

Ballet Mistress

Tatiana Pali achieved stardom as a Prima Ballerina with the Moscow Classical Ballet , garnering numerous international awards for her performances

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in Swan Lake , Don Quixote, Giselle, Romeo & juliet, The Creation oj the World , Paquita and many others. She won the gold medal at the prestigious International Dance Competition in Varna, Bulgaria; received the August Bournonville prize from the Paris Academy of Dance; was acclaimed with the title "Honored Artist of Russia " and was named as "Best Ballerina of the Year in Moscow" in 1991. Ms Pali is regularl y featured in international galas, and participated with other gold medalists in the "Russian All-Stars Super Gala" in Tokyo. Indianapolis audiences have enjoyed Ms Pali in many leading roles including Princess Aurora in The Sleeping Beauty, the Sugar Plum Fairy in The Nutcmck el; as well as leading roles in CoppeIia, Les Sylphides , Giselle, The Creation oj the World and many others. She also danced a magnificent and unforgettable performance in the lead role in Ballet Int ernationale 's world premiere of Sheherezade. In April 2000 , Ms. Pali retired as Principal Dancer with Ballet Internationale She will continue to assist in the artistic direction of th e company and is a member of the faculty of The Academy of Ballet Internationale.

OLEG BEWNTSOV

Guest Conductor

Guest Conductor Oleg Beluntsov will lead the In d ianapolis Chamber Orch estra in Ballet Internationales 200112002 season. He was Principal Conductor of Moscow Musical Theatre s "Amadeus " and is the former Conductor of the Perm State Opera and Ballet. Me. Beluntsov has been a Guest Conductor with the Bolshoi Theatre , the Leningrad Philharmonic , th e Vienna Symphony and many other prestigious companies around the world. Born in Smolensk, Russia, Me Beluntsov trained at the Moscow Co n servatory under the guidance of Gennady Rozhdestvensky, He is married and lives in New York City

REGINA SHESTAKOVA

Music Director and Company Pianist

Originally from St. Petersburg, Russia, Mrs. Shestakova was the Accompanist for the Vaganova Academy from 1979-1986 and the Kirov Ballet from 1986-1996. She has been the Music Director and Company Pianist for Ballet Internationale since 1996. She performed the music for a BBC documentary on Leningrad legend , Natalia Makarova , and her work is featured on a new CD , "Favorite Classics of Ballet. "

VLADILEN SEMENOV

Principal, Th e Academy oj Ballet Int emationa le Vladilen Semenov enjoyed a prominent career with the Kirov Ballet in St. Petersburg from 1950 to 1996. A Premier Danseur for twenty years, his partners included Irina Kolpakova , whom he married in 1955 , and ballerinas Alicia Alonso, Natalia Makaro va ,

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and Alla Osipenko He earned international fame as the Kirov BalletS Artistic Director from 1970-1972 , was the companys Principal Teacher and has served on the faculty of the prestigiOUS Vaganova Academy since 1964. H e has won numerous international awards In 1982, he received the title of Peoples Artist of the Soviet Union - the countrys highest honor. Regarded as one of the finest ballet teachers in the world , Me Semenov has served as company teacher and principal of The Academy of Ballet Internationale since 1997.

CLARK BLAKLEY Vice Principal, The Academy oj Ballet Int emationale

In 1988 , Clark Blakley joined Ballet Internationale as a soloist and received outstanding reviews for his character roles as Pan in Walpurgisnacht, the Chief of Thieves in A Thousand and One Nights, and Carabosse in The Sleeping Beauty A native of Canada and a graduate of the Royal Winnipeg Ballet School, he also danced with the Alberta Ballet and Banff Festival of the Arts. H e has been teaching at The Academy of Ballet Internationale since its inception in 1993 and has taught master classes in j apan and Taiwan. Mr Blakley has also coached three IPS Prelude Scholarship winners , was a dance coach for 1992 Olympic Pairs Figure Skating Champion Natalia Miskituruk, and was a certified level II figureskating coach in Canada.

Principal Dancers

Oguican Borova was recognized in 1996 as the "Prize Winner " at the National Competition in Turkey, his home coun try H e won a bronze medal in the Junior Division at the 1998 Varna International Ballet Compe tit ion in Bulgaria , was a finalist at the 1998 Paris International Ballet Competition, and in 1999 was a semi finalist at the j apan International Ballet and Modern Dance Competition In Turkey, Boro va danced leading roles in La Fille Mal Carde e, Don QUixote, Flam es oj Palis and Le Corsaire. He joined Ballet Intemationale in 1999 , and performed leading so lo roles in A Thousand and One Nights, The Creation oj the World, Don Quixote, Cinderella and others This is his first season as Principal Dancer.

Irina Komarenko is a native of the Ukraine and a 1992 graduate of the Alma-Ata Ballet Academy

Upon graduation, she joined the world-renowned Donetsk Ballet and danced leading roles in various performances. Ms. Komarenko has toured extensively in Europe. She joined Ballet Internationale in 1999, performing leading roles in The Creation oj the World, The Nutcracker, Napoli , and A Thousand and On e Nights. In 2000, she was a guest dancer with Universal Ballet for their US tour to the Kennedy Center, Lincoln Center and Los Angeles ' Music Center That same year, she received the

prize as best n on-competing partner in the Varna International Dance Competiti on.

Karen Scalzitti-Ke nn e d y is a former principal dancer wi th Boston Ballet and Ballet West. She was the pa rtner of superstar Fernando Bujones. Her classical repertoire includes principal roles in various co ntemporary and classical productions. She became a favorite of Ind ianapolis audie n ces when s h e danced in Ballet Internationale productions of A Thousand and One Nights, Firebird, Th e NLltCl'ackel; Giselle and many others. She is from H awthorne, New jersey, and received h er formal training at the !tine Fokine School of Ballet and with j eremy Ives. Thi s is her eighth season with Balle t Internationale. Alexe i Tyukov graduated with honors from the Perm State Ballet Academy in 1995, in his home city of Perm, Russia. The same year he joined the Perm State Ballet, where he performed lead roles in Swan wke, Le Corsaire, Giselle and The Nutcracker At the 1998 International Balle t Competi tion "Arabesque," Mr. Tyukov won the gold med al in the Senior Men"; Division and was awarded "The Mikha il Arnopolskii Prize ," given to the most talented participant of th e competition. He joined Ballet Internationale in 1999 , and h as received rave reviews for his leading pe r formances in Phaedra, The Nutcracker, The Creation oj the Wodd, and A Thousand and One Nights. In 2000, he was a finalist in the Varna International Dance

Competition

Soloists

Katherine Lawre nce, originally from Fairfield, Co nn ec ticut, began her ba ll et training at the Connecticut Dan ce School. At age 15, she left home to train a t the Harid Conservatory, whe re she graduated in 1998 as valedi ctorian. She has performed with the Hartford Ballet, joined Ba llet Internationale in 1999 as an apprentice and, because of her talent, was quickly promoted to Corps de Ballet in the 2000-2001 Seaso n This summer, sh e performed w Bayadere with the Universal Ballet Company of Korea and has danced roles in w Fille Mal Gardte, Don Quixote, Creation oj the Wodd and other ballets. This is her firs t season as a soloist. So-Yon Nam is a native of Taegu, Korea , and studied ba ll et at Moscow"; Bolshoi Ballet Academy Upon grad uation in 1995 , she jOined th e world-renowned Nat ional Ballet of Korea, wh ere she danced leading roles in Don Quixot e, Giselle, w Bayadel'e and Swan wk e, and toured internationally to Egypt and Israe l. She was a semifinalist at the Varna International Ballet Competition in Bulgaria in july 2000. This is h er third season with Ballet Internationale and first as so loist.

Chieko Oiwa joined Ballet Internationale in 1999. A native of Nagoya, J apan, she is the recipient of many awards. In 1996, she rece ived first place in the junior Division of the Kobe Modern and Dance Competition; in 1999, was a semifinalist at th e j apan International Ballet and Modem Co mp eti tion and in 1997, won the IBM Award at the Asia Pacific International Ballet Competi tion. Most recently, Ms O iwa became a fin alist at the Varna International Dance com petition in july 2000. Her repertoire includes leading solo roles in The Nutcracker, Don Qulxote, Swan Lake, La Bayadere, Pha edra, Napoli and A Thousand and One Nights. This is h er firs t season as soloist.

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Canada, F rance, Germany, Holland, Italy, Spain and throughout the United States. Ms. Sinitsyna has performed with the Boston Ballet , New Jersey Ballet and Tulsa Ballet Theatre. Her repertoire includes leading roles in Swan Lake, Romeo and Juliet, The Sleeping Beauty , The Nutcracker , La Bayadere and many others She has danced with Ballet Internationale since 1998 and is a member of the faculty of The Academy of Ballet Internationale. This is her first season as soloist.

Corps de Ballet

Alexei Agoudine is from Russia and studied at one of the world's finest ballet institutions, the Ballet Academy of Moscow, under the d irection of Bolshoi star Gennady Ledyakh He had guest performances in New York City in 1997 and Nice , France, in 1998. In 1999, Mr. Agoudine joined the Vienna State Opera Academy, where he continued his education with distinguished ballet masters such as Valentin Onochko. His solo roles include th e Pas de Trois in Swan Lake, Basil in Don Quixote and various productions of The Nutcrackel; Amade , and Swan Lake. This is his first season with Ballet Internationale N iko la i Ba lats e nko studied at the Kie v Ballet Academy in his native Ukra ine He has danced with companies in the Czech Republic, Ukraine , Europe and Washington, D C. H e has toured with the Classical Ballet of Paris to France , Germany, Belgium and Denmark. This is his first season with Ballet Internationale.

Yu r i Bel e t s ki y, a native of Kiev, Ukraine , trained at the Kiev Ballet Academy of the Ukraine Upon completion of his studies in 1994 , he was invited to join the Donetsk Opera and Ballet Theatre of the Ukraine, where he danced solo and principal roles At the International Festival, "Stars o f the Ballet World, " he has been a featured art ist in Tchaikovsky Pas de Deux, Pas De Sclave , Pas de Deux from Le Corsaire and the Pas de Deux from Four Kisses. He joined Ballet Internationale in 1999 with his wife , Irina Komarenko.

Melin d a Bower , from Parkersburg , West Virginia, received her forma l training from North Carolina School of the Arts, where she studied under Melissa Hayden, Duncan N oble , Fanchon Cordell and Richard Gain. There she performed in Th e Nutcracke1; Western Symphony, Edward Stierle's LaClymosa and Ma rk Dendy's Symmetries. She is a graduate of the Hungarian Dance Academy in Budapest , H ungary, where she danced as a soloist in Don Quixote and Robert Norths Entres dos Aquas. Ms. Bower jOined Ball et Internationale in 1997 and has taught the adult ballet classes for The Academy of Ballet Internationale since 1999

Reb ekah Cri scimagn a, of Indianapolis, is a 1999 graduate of The Academy of Ballet Internationale , which she attended since she was ten years old Under the direction of The Academy, she became a trainee with Ballet Internationale in 1997, an apprentice in 2000 and was promoted to the Corp de Ballet in 2001. Ms. Criscimagna has performed in Ballet Intemationales Paquita , Coppelia, Sl ee ping Beauty, Firebird, The Nutcracker, Phaedra, Th e Creation of the World and A Thousand and On e Nights.

Vadim Dul epa j Oined Ballet Internationale last season from the Ontario Ballet Theatre in Toronto, Canada , where he was Principal Dancer. He graduated from the Bolsh oi Ballet Academy in 1998 and joined Moscow's Kremlin Ballet as a soloist. Mr Du lepa has danced a number of leading roles in Moscow, Detro it Opera House

ON STAGE

as well as on international tours around the world. He has been featured in The Nutcrack er , Swan Lake , Romeo and Juliet , and Tom Sawyer. With Ballet Internationale , he has danced in Napoli , Creation of th e World and other ballets.

Kerrie-Anne Dunn trained at the Harid Conservatory, studying under Marjorie Tallchief and Oliver Pardina. Upon graduating valedictorian, she began her professional career with the Milwaukee Ballet and later with the Columbia City Ballet, where she performed the Fairy of Song and the Diamond Fairy in Sle eping Beauty, the Autumn Fairy in Cinderella , and solo roles in Stephanie Ballards A Gathering , Romeo and Juliet, Stars and Stripes and Raymonda. Originally from Lynchburg,YA , this is Ms. Dunns third season with Ballet Internationale , p erforming in such ballets as Don Quixote, and A Thousand and On e Nigllts.

Sela h a tti n E r k an , from Izmir, Turkey, studied with Shavkat Tursunov at the Dokux Eyl University in lzmir, Turkey He was a semifinalist at the Paris International Ballet Competition in 1998. In Turkey, he danced in La Fm e Mal Gard ee and Th e Flow er Festival at Genzan o, and since 1999 has danced with Ballet Internationale in Th e Nut cracker, Phaedra, Napoli , The Creation of th e World , and A Th ousand and One Nights.

Linds ey Hanlon is a 1999 graduate of The Academy of Ballet Internationale , where she had been training since she was 11. A native of Noblesville, Indiana, Ms Hanlon became a Ballet l nternationale trainee in 1997 , an apprentice in 2000 and was promoted to the Corps de Ballet in 2001. During her three years , she has performed Paquita , Coppelia, Sle eping Beauty, Firebird , Th e Nutcracke, ; Phaedra, The Creation of the World , A Thousand and On e N ights and others.

S te phanie Heston spent six years with the Eglevsky Ballet of New York and has performed leadin g roles in ballets such as Swan Lake, Don Quixote and Les Sylphides. She has been a guest artist with several companies in the US, including Ballet Internat ionale last year, dancing in the company's producti on of Th e Nutcracker in Indianapolis and Detroit. For her talent and hard work, she was invited to join Ballet Internationale th is year.

Sve tlana Kaz onina graduated from the Vaganova Academy of Russian Ballet in 1993 , then joined the Kiro v Ballet of Maryinsky Theatre in St. Petersburg , her native city During her six-year tenure at the Maryinsky Theatre , she toured throughout the world with the company and performed in Swan Lak e, Th e Sl ee ping Beauty, Don Quixote, Gis ell e, Ray mondas , Les Sylphides , La Bayadere , Le Corsaire and Serenade. This is her second season with Ballet Internationale.

Vadim Pij icov, a native of N ovgorod, Russia, came to Ballet Internationale in 1997 from Italys CosiStefanescu Ballet Company, where he danced as a soloist. He graduated from the p restigious Vaganova Academy and enjoyed an ll-year career as a soloist with the N ational Opera and Ballet Theatre of Khishinev, Moldova. In 1993 , he was awarded the special prize for Pas de Deux at the International Ballet Competition in Costanza , Romania. Mr. Pijicov has toured in Austria, Bulgaria , France , Germany, Hungary, Romania and Spa in With Ba llet Internationale , he has performed solo roles in Don Quixote , Creation of the WOI·ld, A Thousand and One Nights and others.

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Rac h el Rutl an d , from Columbus, Ohio, grad uated from the Vagan ova Acade m y in St. Petersburg. She has dance d profeSSionally with the Makarov Ballet Co mp an y CSt. Petersburg), Co lorado Ba ll et and as a guest artist with G rego ry Hancock Dance Theatre

Ms. Rut land has per formed soloist roles in Les Sy lphides, Sleeping Beauty, The Nutcracner and The Creatio n oj the World. Thi s is her fifth season wi th Ballet Inte ma ti on ale, w h ere she has danced roles in ballets suc h as Phaedra, A Tho usand and One Nights, Don Quixote, The Firebird and others.

S e rgey Se r giev is a native of Sofia, Bu lgaria Mr Se rgie v stud ied ballet at the State Choreographic Institute. In 1993, h e was awa rded th e third prize at the Bulgarian Nati o nal Ballet Competitio n , in the name of Anastas Pe trov. In 1996 , he was a semifinalist at the 17'h Internatio nal Ba lle t Competition in Varna and in 2000, p erfo rmed as a gu est artist at the 19,h Varna In te rnational Ballet Competiti on, Supe r Ga la p er fo rman ce. H is re p ertoi re with th e Bulgarian Nationa l Ballet includes lead in g and solo roles in Gis ell e, Swan Lane , Zorba the Green, The Goat Hom and Th e Nutcracner

O ybek Tas h p ul a to v, from Tashkent City, Republic of Uzbekista n , graduated in 1987 from the Uzbe k Sc hool of Choreo grap h y For th e next ten yea rs, h e per formed as PrinCipa l Dancer with the National Academic Opera a nd Ballet Thea tre in Tashkent City For his outsta nding achie ve men ts in the field of dance, the countrys preSi d ent gave Tashpulatov the national title of Hono red Artist of the Republic o f Uzbekistan in 199 7. In 1998, Tashpulatov ca me to the Uni ted Sta tes to d an ce with the Inte rnational Ballet at Carnegie Hall in New York City He joined Ba llet Intemationale in 1999.

Maria Tyu k ova stu di ed at the Perm State Ba ll e t Academy in he r n at ive Ru ssia She joined the Perm Sta te Ba ll et in 1998 a nd toure d Ch ina , Korea and the U.S. She ha s danced in Swan Lane, The Nutcracne l; The Sleeping Beauty, Don Quixote and Giselle. last season, s h e per form ed wit h Ballet Intema tionale as a gu est dancer and was invited to jo in the Corps de Ballet this season. Maria is married to Princip a l Dancer Alexei Tyuko v. P hillip Ve lin ov s tu d ied at the State Choreographic In s titute in Sofia , th e n received full scho lars hip s to b oth the Kiro v Academy in Wash in gto n DC, and the Alaba ma Sc h ool of Fine Arts, fro m wh ich h e gra d u ated. In 2000 , h e grad uated with honors on a full schola rship from Birmingham Southe rn Co llege the first tim e in th e school 's 140-year hi story that suc h a scho larship was awarde d in the p erforming arts. He danced with the Alaba m a Balle t , the Birmin gham Ballet and as a guest wit h the Montgo m ery Ba llet, with leading roles in Paquita, La Fille Mal Gardee and Esmeralda. In 1998, h e received th e Birming h am Fine Arts Socie ty Award for Exce ll ence in Dan ce. Thi s is Mr. Ve linovs second season with Ballet Intem ational e. m

The "Apollo Show"

In June 2001 , Dance Theatre of Harlem p erform ed for the first time at the Apollo Thea tre The program , now call ed the "Apollo Sho w," is presented again b y popular demand. Dance Theatre o f H arlem:' "Ap ollo Show " features three signature works from Dance Theatre of Harlem :' "ClasSically American''TM rep ertory, which trace the spiritual journey of the African Dia sp ora in mu sic, song and dance .

SOUTH AFRICAN SUITE

World Premiere of Expanded Version

March 30, 1999

Choreographed by Augu stus van Heerd e n , Laveen Na idu and Arthur Mitchell

Music by the Soweto String Quartet

Eureka (Soweto String Quartet)

N tyilo Ntyilo (S. Khemese)

Zebra Crossing (S. Khemese IG. Beggs !RaT Khemese 1M. Mnguni)

Bossa Baroque (Dave Grusin)

Sh ul Up ancl Lislen (Thul'u Lalde) (M. Mnguni IS. RaT Khemese IG. Beggs)

Mlibe KwaZ ulu (Long , Long Ago in KwaZulu) (Soweto String Quartet)

Costumes by Pamela Allen-Cummings

Lighting by Kevin Connau ghton and Brad y jarvis

Through music and mo vem ent, the many fa cets of South Africa ar e brou ght ou t o f the earth, re ve aling th e commo nality of all humankind. This is a pla ce wh ere the spirit of the peopl e endures for ever, despite their lamentations, and like the anima ls can be both playful and fi erc ely majestic.

In 1992 , Dance Theatre of Harlem mad e hi story as the first American company to perform in South Africa after the 30-yea r cultural ban was lifted. That unprecedented six-week tour r ece ived critical praise and played to integra ted, so ld-out houses

The firs t ve rsion of South Afri can Suite was co-commissioned for The John F. Kenne d y Center Per forming Arts , with su pport from BMG Record s/South Afri ca, as well from Philip Morris Co mp anies

U kh o lo l ok'ssa (Endwing Spirit)

CAROLI NE ROC H ER

REjANE DUARTE (9111)

Amaka t i (Feli nes)

KELLYE A SAUNDERS,]AMES WASHI NGTONI BETHANIA GOMES, JAMES WASHINGT ON (9/ll)

In tsha (Youth)

LE SLIE ANNE CARDONA, KEVIN THOMAS, PAUN IKAjONES

DIONNE FIGGINS, ANTON IO DOUTHIT, EBONY HASWELL (9111)

Amab u tho (Warrior s)

RAMON THIELEN, DUNCAN COOPE R!

RAMON THI ELEN, MARK BURNS (9/11)

Antonio Dout hit , Preston Dugger, Orlando

Pagan , Claudio Sa ndoval , William Smith, Iyun

H arrison, Ahmed Farouk, Eri c Underwood

Isibu siso (Bl essing)

CAM ILLE PARSO N

AKUA PARKER (9/ 11 )

Ntomb i (Women)

CAM ILLE PARSON

AKUA PARKER (911 1)

jarina Carvalho , Rejane Duarte, Raintree

H alpern, Amy Johnson, Melissa Morrisey (9/ll )

Nicole Stoner, Leanne Codrington. Chandra Moss, Christiane Cristo, Lynda Sing

DAIMLERCHRYSLER

Product ion Sponsor

DAIMLERCHRYSLER

Umcimb i (A Gathering)

THE COMPANY

Ithemba (Hope)

CAROLINE ROC H ER

REjANE DUARTE (9/ 11 )

INTERMISSION

DOUGLA

World Premiere April 16, 1974

Choreography, Music and Costu mes by Geo ffr ey Holder

Assistant to M,: Holder: Avind Harum

Music Arranged by Tania Leon

Costume Execution by Zelda Wynn

Ligh ting Design by Paul Sull ivan

Conducted by joseph E. Fields

Where twains meet, where Hindu and African tangle, their offspring are called "Dougla. " Set in the colorful costumes and atmosphere of Trinidad , Dougla presents the ritua l and ceremo n y of a wedding and celebra tion b etween two "Dougla" people.

Music by arra nge ment with Peer Southern Music Publishing Compa ny, In c.

SOUTH AFRICAN SUITE Choreographed by Arthur Mitchell , Laveen Naidu and Augustus van Headen; featuring Caroline Rocher.

The 2001-2002 DaimlerChrysler Dance Series is made possible by The DaimlerChrysler Corporation Fund

Dou gla People

MARK BURNS

KEVIN THOMAS (9111)

Kevin Thomas, J ames Washington, Orlando

Pagan, Eric Underwood, Claudio Sandoval, W illi am Smith, Ramon T hiele n , Antonio

Do u thit , Ahmed Farouk, Preston Dugger, Ik olo

Griffin, lyun H arrison

PAUN l KA J ON ES

LYNDA SING (91ll)

Akua Parker, Leanne Codtington, Melissa Morrissey, Lynda Sing, J arina Carvalho, Christiane Cristo, Raintree Halpern, Rejane

Duane, Chandra Moss, Nico le Stoner, Amy

johnson, Ebony Haswell , Dionne Figgins, Naimah Willoughby

Woman in Green

CAMI LLE PARSON

Claudio Sandoval, William Smith, Orlando

Pagan , Preston Dugger, Anton io Douthit, J a m es

Washington

Pas de Deux

MARK BURNS, PAUNlKAJONES

KEVIN TH OMAS, LYNDA SING (91ll)

Women in Black

REJANE DUARTE , CH RI STIANE CRISTO, N ICOLE STO ER

Acrobats

KEVI N THOMAS, RAMON THIELE N

MARK BURNS, CLAUDIO SANDOVAL (9/11)

Stickman

JAMES WASH INGTON

Dougla People

The Company

INTERMISSION RETURN

World Premi ere September 21, 1999

Choreographed by Robert Garland

MLl5ic performed and/or written by ja mes Brown , Alfred Ell is, Are t ha Franklin, Carolyn Franklin

Costume Design and Execution by Pamela Allen Cummi n gs

Lighting Design by Roma Flowers

"Mother Popcorn"

PAUNlKAjONES

Lenore Pavlakos, Caroline Rocher, Kellye A. Saunders, Lynda Si n g, Tanya Wideman

D ONALD WILLIAMS

Preston Du gger, Claud io Sandoval, O rlando Pagan, Ramon Thielen, james Washingt on DIONNE F IGGINS (9/ll)

Be thania Gomes, Ca mill e Parson, Lynda Sin g, Meli ssa Morrisey, Tanya Wideman

DUNCAN COOPER

Mark Bums , Eric Underwood, Anto ni o Douthit, Kevin Thomas, James Washingto n

"Baby, Baby, Baby "

KELLYE A. SAUNDERS, DONALD WI LLIAMS

Lenore Pavlakos, Jam es Washington, Tanya Wideman, Orlando Pagan BETHANIA GOMES, DU NCAN COOPER (gill)

Camille Parson, Antonio Douthi t, Tanya Wideman, J ames Washington

"I Got the Feelin '"

CLAUDIO SAN DOVAL , PAUNlKA j ONES, RAMON TH EILEN

Caroline Ro che r, Lynda Sing, Preston Dugge r MARK BURNS, DIONNE FI GGI NS, KEVIN THOMAS

Melissa Morrisey, Lynda Sing, Eric Underwood (91ll)

"Call Me "

LENORE PAVLAKOS , JAMES WAS HI NGTO N The Comp any TANYA WIDEMAN,JAM ES WASHINGTON (9/ll)

Th e Company

"Sup erbad "

DONA LD WI LLIAMS

Th e Company

ERIC UNDERWOOD (9/ 11 )

The Company

Mother Popcorn and Supe rbad perfonned by James Brown

Courtesy of DynalOne Publishing Company

By arrangement with Wamer SpeCial Products

Baby, Baby, Baby and Call Me perfonned by Aretha

Franklin

Counesy of Pronto Music and Fourteenth Hour Music, Inc.

By arrangement with Warner Special Products

I Got the Fee/in' performed by James Brown

By arrangement with Fon Knox Music, In c.

Return was commissioned by Arthur Mitchell and Dance

Th eatre of Harlem.

Th e arts enri ch o ur l ives in ways that go beyo nd the spok en wor d o r mU Si cal note. They mak e us l augh. Th ey make us cry. They lift our sp ir its and bring enj oy men t to our l i ves. Th e arts and cu ltu r a l opportun iti es so v i tal to this commun it y are al so important to us. That 's why (omerica su pport s the arts. And we applaud those who join us in mak ing investment s t hat enrich p eo pl es li ves.

We listen . We understand . We make it

Program B

NEW BACH

World Premiere September 25,2001

Choreographed by Robert Garland

Music by Johann Sebastian Bach (Violin Concerto in A Minor, BWV 1041)

Costume design and execution by Pamela AllenCummings

Lighting design by Roma Flowers

Conducted by Joseph E. Fields , (name tk) ,violin

"Prej udices are sop h isticatedly acquired tastes that destroy innocence - that s tate of purity in which man can be in accord with himself, his fellow men, and attuned to nature. This innocen ce is one of the intrinsic beauties of man and if we do not regain it soon, we will perish. True dance , in any of its myriad forms , is an expression of this innocence, and it is through dance that man has the possib ility to fin d h imself aga in."

-

Karel Shook (from Elements oj Classical Ballet Technique, 1977)

ALLEGRO MODERATO

TANYA WIDEMAN, DONALD WILLIAMS

PaunikaJones, Akua Parker, Ebony Haswe ll

Lynda Sing, Ikolo Griffin , Antonio Douthit , Preston Dugger, Claudio Sandoval

ANDANTE

DONALD WILLIAMS

Paunika Jones , Akua Parker, Ebony Haswell , Lynda Sing

TANYA WIDEMAN

Ikolo Griffin, Antonio Douthit , Preston Dugger, Claudio Sandoval

ALLEGRO ASSAI

The Company

New Bach was commissioned by Arthur Mitchell and Dance Theatre of Harlem.

PASSION OF BLOOD

World Premiere Septe mber 25,200 1

Choreographed by Augustus van Heerden

Music by J esus Villa -Rojo (Concerto #2 for Cello and Orchestra)

Francesco Tarrega (Capricio Arabe)

Isaac Albeniz (Sev illanas from Suite Espanola, Op. 47)

Costume Design and Execution by Pamela AllenCummings

Set Design and Forest Projection by Maxine Willi Klein

Lighting Design by Roma Flowers

Conducted by joseph E. Fields; Eugene Moye, Cello, Scott Kuney, Guitar

Ahmed AH MED FAROUK

His Moth er CAMI LLE PARSON

Kell y e KELLYE A SAUNDERS

H e r F a the r JAMES WASHINGTON

H e r Maid LEANNE CODRINGTON

Ramon RAMO N TH I ELEN

Carolina , His Wife CARO LI NE ROCHER

H e r Mothe r LENORE PAVLAKOS

jarina Carvalho, Christiane Cristo, Nicole Stoner, Dionne Figgins , Raintree Halpern, Lynda Sing, Paunika jones , Ebony Haswell , Mark Bums, Antonio Douthit , Preston Dugger, Iyun Harrison , Orlando Pagan, William Smith, Eric Underwood, Claud io Sandoval

SYNOPSIS

SCENE I THE H OME OF AH MED AN D

H IS MOT H ER. Ahmed is filled with though ts of Kellye , the woman he wants to many H is mothe r reluctantly agrees that it is a good match and that they will arrange the marriage. Ahmed is abou t to leave when h is moth er discovers a knife in his pocke t ; th e discovery sends her into a rage.

SCENE II THE HOME OF RAMON AND CAROLINA. Carolinas mo ther tells her tha t Ramon h as been seen near Kellyes house. Both women know that, three years earlier, Ramon and Kellye h ad a relatio n ship. When Ramon arrives, it is clear to Carolina th a t h e is d is tracted and preoccupied with other thoughts.

SCENE III THE HOM E OF KE LLYE AN D H ER FATH ER. Ahme d a n d his moth e r arrive at Kellyes house to arrange the marriage.

SCENE IV Ramon appears outside Kellye\; house .

SCENE V TH E WEDD ING RECEPTION, OUTS ID E KELLYE'S H OUSE. During Kellye and Ahmed's wedding r ecep tion , Caro lina di scovers that her husban d , Ramon, h as run away with Kellye. Ahmed\; mother sends him to find them.

SCENE VI THE CONF RONTATION. Passion of the Blood was commissioned by Arthur Mitchell and Dance Theatre of Harlem.

INTERMISSION

RETURN

World Premiere Se pt emb er 2 1, 1999 Choreographed by Robert Garland Music performed and/or written by J ames Brown, Alfred Ellis, Aretha Franklin, Carolyn Franklin

Costume Design and Execution by Pamela Allen Cummings

Lighting Design by Roma Flowers

" Mother Popcorn

PAUNIKAjO NES

Lenore Pa vlakos, Caroline Roche r, Kellye A Saunders, Lynda Sing, Tanya Wideman

DONALD WILLIAMS

Preston Dugger, Claudio Sandoval, Orlando Pagan, Ramon Thielen, j ames Washington

DIONNE FIGGI NS (91ll)

Bethania Gomes, Camille Parson , Lynda Sing, Melissa MOrrisey, Tanya Wideman

DUNCAN COOPER

Mark Bums , Eri c Underwood, Antonio Douthit, Kevin Thomas , j ames Washington

" I Got the Feelin'"

CLAUDIO SANDOVAL, PAUNIKA JONES, RAMON THI ELEN

Caroline Rocher, Lynda Sing, Preston Dugger

MARK BURNS, DIONNE FIGGI NS, KEVIN

THOMAS

Melissa Morrisey, Lynda Sing, Eric Underwoo d (9/ll)

" Call Me "

LENO RE PAVLAKOS , JAMES WASH INGTON

The Company

TANYA WIDEMAN, J AMES WASHINGTON (91ll)

The Company

" Superbad "

DONALD W ILLIAMS

The Company

ERIC UNDERWOOD (9111)

Th e Company

Mother Popcorn and Superbad performed by James Brown

Courtesy of DynaLOne Publishing Company

By arrangement wilh Warner Special Products

Baby, Baby, Baby and Call Me performed by Arelha

Franklin

Courtesy of Pronto Music and Fourteenth Hour Music, Inc.

By arrangement with Warner Specia l Products

I Got the Feelin' performed by James Brown

By arrangement wilh Fort Knox Music, Inc.

Return was commissioned by Arthur Mitchell and Dance

Thealre of Harlem.

"

KELLYE A SAUNDERS, DONALD WILLIAMS

Lenore Pavlakos , james Washington, Tanya Wideman, Orlando Pagan

BETHANIA GOMES, DU NCAN COOPER

Camille Parson , Antonio Douthit , Tanya Wideman, Jam es Washington

"

Baby, Baby, Baby "

ARTISTS OF THE COMPANY

Heather Aagard

Deanne Brown

Deborah Dawn

Erica Lynette Edwards

Jennifer Goodman

Trinity Hamilton

Taryn Kaschock

Stacy Joy Keller

Britta Lazenga

Suzanne Lopez

Elizabeth Mertz

Emily Patterson

Valerie Robin

Kathleen Thielhelm

Maia Wilkins

Yukari Yasu i

Teanna Zarro

Michael Anderson

Fabrice Calmels

APPREN TI CE S

Angelina Sansone

J acqueline Sherwood

Erin Smith

Orlando Julius Canova

JOFFREY

BALLET OF CHICAGO

Christopher Fellows

Sam Franke

Nozomu H aga

Ca lvin Kitten

Peter Kozak

Michael Levine

Pierre Lockett

Brian McSween

Masayoshi Onuki

Samuel Pergande

Matthew Roy Prescott

Jamie Rhett Roberts

Davis Robertson

Domingo Rubio

Willy Shives

Patrick Simonello

Michael Smith

Guoping Wang

J ohn Gluckman

David Gombert

Mauro Villanueva

Kevin Dreyer, Lighting Des igner

George Darveris, Product ion Manager

Michael Andrew Currey, Production Stage Manager

SpeCial Thanks to COMMONWEALTH EDISON, an Exelon Company.

The SARA LEE FOUNDATION is the J offrey Ballet of Chicago); 200112002 PRESENT ING

SPONSOR

The J offrey Ballet of Chicago); 2001 -2002

Season is sponsored b y PHILI P MORRIS COMPANIES INC

American Airlines is the official airline of The Joffrey Ballet of Chicago.

Program and artists subject to change.

GERALD ARP INO , Founder and Artistic Director, TheJoffrey Ballet of Chicago

ROBERT JOFFREY and GERALD ARPI N O , Founders , TheJoffrey Ball et Laura Gates , Ex ecutive Director

Cameron Basden , Ball et Mistress

Mark Go ldweber, Ballet Master

Ch art hel Arthur, Ball et Mistress

Adam Skl ute, Assistant Ballet Master

Kettentanz

Choreography by Gera ld Arpino

Music by Johann Strauss Sr. * &: Johann Ma ye r* *

Lighting by Thomas Skelton

Costumes by Jo e Eula

Kettentanz is Gerald Arpinos salute to the O ld Vienna of court balls and weingarten s. The ball et is filled with Viennese -style dances- polkas, ga lops and wal tzesand was inspired by The Joffrey Ballet's ac cl aimed visit to Vienn a in 1969 The ba ll et was choreographed during a residency at the University of California, Berkeley It is also in the repertories of the National Ballet of Canada , the Australian Ballet and the Vienna State Opera Ballet. This ballet has ten movements:

l. Gitana Galop 6. Schno fler Tanz

2. Annen Po lka 7. Seufzer Galop

3. Kettenbrucke 8. Hofba ll Wa ltz Waltz 9. Cachucha

4. Eisele und Galop Beisele Sp runge 10. Gitana Galop

5. Chinese Galop

"It has invention and a blithe use oj music, extends and illuminates its dancers and shows an imaginative sense ojJorm .Here the Vienna Woods are only Jaintly suggested with a little dappled and bosky lighting and the ballet unfolds

with a youthful zest that belongs to all time."

- Clive Barnes

"His loveliest ballet .. Arpino has blithely soared above the music to create a suite oj tender miniatures all growing out oj an opening chain Jormation and eventually returning to it with the gleaming casualness oj a meadow stream filtering through cluster aJter cluster oj blightly nodding flowers."

- Doris Hering, Dan ce Magazine

World Premiere: Zellerbach Auditorium, Berkeley, California, September 7,1971.

Original Cast: Francesca Corkle, Starr Danias, Denise Jackson, Donna Silva, Gay Wallstrom, Rebecca Wright, Scott Barnard, Henry Berg, Dermont Burke , James Dunne, Roben Th omas, Glenn White.

New Yo rk Premiere: October 20, 1971, City Center

Theater

Length of Ballet: 33 minutes

N umb er of Dance r s : 12

*G itana Galop, Opus 108; Annen Polka, Opus 137; Erste Kettenbru c ke Walzer, Opus 4; Eisele und Beisele Sprunge, Opus 202; Chin eser Galop, Opus 20; Seufzer Galop, Opus 9; H ofball Tanz , Opus 51 ; Cachucha Galop , Opus 97, all by Johann Strauss Sr ** SchnoOer Tanz by Johann Mayer m

Lilac Garden

Choreography by Antony Tudor

Music by Ernest Chausson (Poeme)

Antony Tudor s Lilac Garden , set to music by Ernest Chausson, was crea ted for Balle t Rambert in 1936. This intimate work revea ls Tudor 's increasing interest in deve loping a cho r eogra phic language that shows the p sycholOgica l m otivation for his protagonists' actions, through the story of a young woman who must say farewell to her lover on the eve of h er arranged marriage to a man sh e does not lo ve .

Antony Tudor, 1909-1987 , came to the United Sta tes at the invitation of the Ballet Theatr e, New York City (1939); h e danced leading roles an d created ballets for several English and American companies, and was later the artis tic director of the Roya l Swedish Ballet ( 1963 - 64). He rema ined th e resident ch oreographe r at the American Ballet Theatre until his death. His ball ets, influenced by the expressionism of Fokine and Massine, use the modern idiom. In hi s later work, he used psychological tension and dramatic gestures to exp lore human su ffering . m

Make a grand statement by se lecting from the most diverse piano display in the area, featuring quality investments from 12 countries and 4 continents.

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NOW SHOWING """"' BE C H STEIN

Rodeo

(The Courting at Burnt Ranch)

Choreography by Agnes de Mille

Music by Aaron Copland

Scenery by Oliver Smith

Costumes by Kermit Love

Lighting by Thomas Skelton

Throughout the American Southwest, the Saturday afternoon rodeo is a tradition. On the remote ranches as well as in trading centers an d towns, the ranch hands get together to show off their skills in roping, branding and throwing. Often , on the more isolated ranches, the rod eo is done for an aud ien ce that consists of a h andful of fello w workers , womenfolk and thos e neighbors who can make the 80-mile or so run over. The afternoon's exhib ition is usually followed b y a Sa turd ay night dance at the ranch hou se

Rodeo, de Mille's classic American masterpiece of the South west, displa ys the exuberant spirit of fronti er men and women . The mat erial of the ballet is redolent of our American soil.

"A Rodeo atJoffrey is terrific. hums with vitality vi brant a tru e part of Am erican cul ture."

The current production is a reconstruction of the original, as it was se t b y the Ballet Russes d e Monte Carlo in 1942.

Original Cast: Agnes d e Mille as the Cowgirl, Frederic Franklin as the Champion Roper, Casimir Kokitch as th e Head Wrangler and Milada Mlado va as th e Rancher's Dau ghter.

The Joffrey Ballet Premiere: October 28 , 1976 , City Cent er, New York City

Length of Ballet: 31 minutes

Number of Dancers: 22

Available Recordings (Partial Listings) Bernstein , NY Philharm onic: 2 Col .MG 30071IMGT30071

Copland , London Symph ony: Col. M30 114

Dorati, Detro it Symphony: Lon. LDR7l047 (D)

Irving, Concert Arts Orchestra: Sera. S 60198 m

- Anna Kisselgoff, Th e New York Tim es

Choreography by Konstantin Sergeyev after Marius Petipa

Music by Adolphe Adam, Cesare Pugni, Leo Delibes, Riccardo Drigo and Prince Oldenbourg

Staged by Anna-Marie Holmes with the assistance of Tatiana Legat, Tatiana Terekhova and Sergei Berjnoi

Libretto by Jules-Henri de Saint-Georges and Joseph Mazilier

In a version by Konstantin Sergeyev

Based on The Corsair (1814) by Lord Byron

Sets and Costumes by IRINA KONSTANTINOVNA TIBILOVA

Lighting design by Mary J0 Dondlinger

Shirley Schlafer Endowment Production Sponsor

DAIMLERCHRYSLER

The 2001·2002 DaimlerChrysler Dance Series is made possible by The DaimlerChrysler Corporation Fund

le Corsaire

Prologue

A pirate ship, manned by Conrad, his slave, his friend Birbanto and a crew of corsairs, sails toward Turkey

Act I

Th e Bazaar. Dea lers and buyers fill a no isy bazaar wh ere slave girls are being t r aded Conrad and his men arrive where Lankendem, the owner of the bazaar, is selling girls. Conrad sees Medora, a slave girl, and falls immedia tely in l ove . Seyd, a pasha, arri ves on t h e scene amid much fanfare. Lankendem presents three young women, whom the pasha rejects. Lankendem presents Gulnare, a l ove ly slave girl, to the pas h a , and he b u ys her. Lankendem th en presents Medora. Everyone is entranced by her beauty The pasha buys her. Conrad ins tructs th e slave to stea l Medora back, and the pirates raid the vill age and kid n ap Lankendem.

Act II

The Grotto. Co nr ad shows Medora his h i deout. Birb anto ca ll s all th e pirates to bring into the grotto their sto len bounty, as well as the slave girls and Lankendem. Medora, Conrad and h is slave dance to entertain th e cr ew. Afterward, Medora entreats Conrad, in the name of the ir l ove , to free all of the slave girls. He agrees, but Birbanto rebels against the idea and persu ades th e pirates to rio t aga inst Co nr ad ins tead. By the force of his commanding personality and physical presence, Conrad Single- h anded ly instills terror

in the hearts of the pirates, and they abandon their mutinous plans. Not to be th warted, Birbanto devises a new scheme. He sprays a rose with a sleeping potion and forces Lankendem to help him pass the flower to Medora, who unwittingly gives it to Conrad. He inha les its aroma and falls into a drugged sleep. The p irates return to the grotto and attempt to capture Medora. While struggling , she snatches a dagger and cuts Birbanto 's arm. In the confusion, Lankendem steals Medora back and escapes. Birbanto is about to kill Conrad, but is interrupted by the slave. Stunned and broken-hearted, Conrad discovers Medora missing. Birbanto

feigns ignorance and swears his loya l ty to Conrad.

Act III

Scene I: The Pasha 's Palace. Lankendem appears with a veiled Medora, and a guard ru ns to get the pasha. The pasha is de ligh ted th at Medora has been recaptured and declares that she will become his number one wife Gulnare enters and closes the boxes full of riches that were promised to her by the pasha. Gu lnare sees that it is her friend Medora to whom he has promised the riches, and runs to her.

Scene II: Jardin Anime. Delighted by all the lovely women, the pasha dreams of them in a beautiful garden.

Scene III: The Pasha's Palace. The pasha is awakened by the arrival of Conrad, Birbanto and the pirates, disguised as pilgrims. He invites them to enter the palace. The pasha is surrounded by his wives, his chief sultan Zulmea and Gulnare. The y compete for his affections. Medora recognizes Conrad. Sudden ly, the pilgrims throw off their robes and reveal themselves to be pirates. Chaos erupts within the palace. Conrad and his men chase away the pasha, his guard and wives. They dance in victory But Birbanto runs in , chasing Gulnare. The y collide with Conrad and Medora. Medora exposes Birbanto as a traitor , and Conrad shoots him. Conrad's sla v e helps Medora and Conrad escape. They flee to the ship.

Scene IV: The Storm. The pirate ship sails upon a calm sea. Conrad, at the helm , cradles Medora in his arms. Sudden ly, a fierce storm blows across , as lightning illuminates the darkening sky Gusting winds shred the sails, and a lightning bolt snaps the ship'S mast in half. The ship sinks among the relentless , turbu lent waters.

Epilogue

As the wind subsides and the sea becomes ca lm, the moon rises in the sky It sheds light upon Conrad and Medora , clinging to a rock and offering thanks for their miraculous survival , a testimony to the strength of their 10ve. W

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DetTOit Opera House

le CORSAIRE

Profiles

CHOREOGRAPHY MARIUS PETIPA

Marius Petipa , the "fa ther of classical ballet," was born in Marseilles, France, in 1819 He began his dance training at the age of seven with h is father, Jean Petipa, the French dancer and teacher. Marius was educated at the Grand College in Brussels and also attended the conservatoire, where he studied music.

In 1834, Jean Petipa became Maitre de Ballet at the theater in Bordeaux , and it was here that Marius completed his education. At the age of 16 , he became Premier Danseur at the theatre in Nantes, where he also produced several short ballets.

In 1839 , Marius left Nantes to tour North America with his father and, on their return visit went to Paris. The following year, he made his debut at the Comedie where he partnered Carlotta Grisi in a benefit performance. He continued his studies with A Vestris and became a principal dancer in Bordeaux, where he appeared in Giselle, La Fille Mal Gardee and La Peli, and choreographed La jolie Bordelaise , La Vendange, Untligue Amoureuse and La Language des Hours.

Petipa next went to Spain, in 1845, to work at the King's Theatre While in Madrid, he studied Spanish dance and choreographed Carmen et son Terero, La Perle de Seville, LAv enture d'une Fille de Madlid, La Fleur de Grenade and Depart pour la Course des Toureaux.

In 1847, he left for Russia. He had signed a one-year contract with the St. Petersburg Impelia l Theatre, but was to remain there for the rest of his life. As a principal dancer, Petipa often appeared with Fanny Eissler and was much acclaimed for his performances in such ballets as Paquita (which he restaged, and in which he made his debut), Giselle, La Peli, Armida, Catalina, Le Delire d'un Peintre, Esm eralda, Le Corsaire and Faust. Considered an excellent dancer and partner, his acting, stage manners and pantomime were held up as examples for many generations of dancers.

When Giselle was revived in 1850, Petipa made some changes in the Wilis scenes, which became the Grand Pas des Wilis of 1884. In 1854, he married Maria Sourovshchikova, a student in the graduating class of the Imperial School, who later danced in many of her husband's ballets. (Petipa's second marriage was to Lubova Leonidovna, a member of the Moscow Ballet, in 1882.) In 1854, he became an instructor in the school while continuing to dance and to restage ballets from the French repertoire.

In 1869, Petipa became Premier Ballet Master of the Imperial Theatre. The value of his accomplishments is inestimable: He produced more that 60 full-evening ballets and innumerable shorter works, and he is considered to have laid the foundation for the entire school of Russian ballet. The ballet repertoire in the Soviet Union is still based mainly on his works

Among Petipa's greatest original works are Don Quixote (Minkus, 1869), La Camargo (Minkus, 24 BRAVO

1872), La Bayadere (Minkus, 1877), The Talisman (Drigo, 1889) , The Sleeping Beauty (Tchaikovsky, 1890), Kalkabrino (Minkus, 1891), Cinderella (with Cecchetti and Ivanov; Baron Shell, 1893), Swan Lake (with Ivanov; Tchaikovsky, 1895), Hotel de Cavalelie Q. Amsheimer, 1896), Raymonda (Glazunov, 1898) , Ruses d'Amour (Glazunov, 1900), The Seasons (Glazunov, 1900), Les Millions d'Arlequin (Drigo, 1900) and Th e Magic Mirror (Koreshenko, 1903).

In 1903 Petipa, at age 84, was forced to retire from the Imperial Theatre as a direct result of the failure of his ballet , The Magic Mirror His las t years were filled with bitterness and disillusionment because his beloved theater had been taken away H e died in St. Petersburg in 1910.

Marius Petipa is considered one of the greatest choreographers of all time. He researched the subject matter of the ballets he staged, making careful and detailed preparations for each production, and then worked closely with the designer and composer. Petipa elevated the Russian ballet to international fame and laid the cornerstone for 20th century ballet. His classicism integrated the purity of the French school with Italian virtuosity

C HORE O GRAP HY KONSTANTIN SERGEYEV

Konstantin Sergeyev is perhaps most well known for his 20-year tenure as director of the worldfamous Kirov Ballet. He began his training at 14 , with Victor Semyonov at the Leningrad Ballet Schoo l in 1924, and graduated in 1928. He joined the Kirov in 1930 and quickly achieved the position of Premiere Danseur Noble, the highest rank for a ma le dancer, and became the partner of the great ballerina Galina Ulanova. H is repertoire as a performer included Vaslav in The Fountain of Bakhchisarai , Lucien in Lost IllUSions, the prince in Cinderella and many more. At the world premiere of Romeo and juliet by the Kirov Ballet in 1940 , Sergeyev appeared as Romeo opposite Galina Ulanova As a choreographer, Sergeyev re vive d important Petipa ballets for the Kirov, including Raymonda, Swan Lake, The Sleeping Beauty and Le Corsaire He and h is wife, former ballerina Natalia Dudinskaya, staged Boston Ballet's 1990 product ion of Swan Lake. Sergeyev was the director of the Vaganova Academy until his death in 1992.

MUS IC

ADOLPHE ADAM

French composer Adolphe Adam was born in Paris on July 24 , 1803, and died there on May 3, 1856. He was the son of a musician who did his best to dissuade him from following the same career, but he was eventually allowed to enroll at the Paris Conservatoire, where he studied under Boieldieu. After helping Boieldieu to orchestrate the overture to his opera La Dame Blanche in 1825 , he came to the notice of the Opera-Comique and had his first one-act opera, Pierre et Catheline, produced there in 1829. H is brother-in-law, Laporte, was musical director at Royal Opera House , Covent Garden, and through him, a coup le of Adam's works were staged there in 1832 Until that point , he had

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written in the conventiona l opera-comique style, but in La Chalet (1834) he wrote what is considered to be the first true French operetta, light and frivolous, with music nearer the popular vaudeville idiom. The opera that established his reputation and has been most frequently performed is Le PostilIon de Longjumeau (1836); the aria "Mes amis, ecoutez l'histoire" has remained a tenor favorite. In 1844, he was elected a member of the Institut and, in 1849, professor of composition at the Conservatoire. He clied suddenly seven years later. Adam wrote ballets for London, Berlin and St. Petersburg. The ballets that brought him great success were Faus t (London, 1833); La Fille du Danube (Paris, 1836, for Taglioni); Lajolie Fille de Gand (Paris, 1842) and Giselle (Paris Opera, June 28, 1841). Adam attempted four kinds of dramatic composition: grand opera, in which he utterly failed; ballet, in which he produced some charming melodies; comic opera, the one and only real domain of his talent; and incidental music for nearly 30 plays, which is ephemeraL He also wrote church music, pianoforte pieces and songs. Richard en Palestine is considered his most successful grand opera; Giselle, his most successful ballet; and Le PostilIon de Longjumeau, his most successful comic opera.

MUS IC CESARE PUGNI

Cesare Pugni was born in Genoa in 1802 and studied at the Milan Conservatory of Music. H is teachers included Alessandro Rolla, violin, and Bonifazio Asioh, composition. While in Milan , he contributed music for the ballets Macbeth, The Kenilworth Castle and The Siege of Calais. Elerz e Zulmida (1826) was the first work composed completely by him. From 1832-1834, he was maestro al cembalo and music director of La Scala, a post he left in disgrace- presumab ly, due to a fondness for gambling. Pugni then went to Pa ri s, where he became director of the Paganini Institute and had a brief association with Bellini. During this time, he composed The Devils Fiddle, The Marquitante, The Marble Maiden and Stella, au Les Contrebandiers (1850) In 1843, he began a long co ll aboration with Jules Perrot at Her Majesty's Theatre in London (under Benjamin Lumley). Unquestionably gifted, Pugni always worked in a great hurry and on specific order from customers he was forced to satisfyhence the crudeness of h is music. He composed music espeCially for Marie Taglioni , Fanny Eissler and Carlotta Grisi, among others. In 185 1, he went to St. Petersburg, where he was staff composer of ballet music at Royal Opera House, Covent Garden Opera In Russia, he was staff composer at the Imperial Ballet , and, during his 19 years there, composed 35 ballets and a great number of individual dances. Among his outstanding compositions were La Esmeralda (1844), The Little Humpbacked Horse (1864), Daughter of Pharaoh (1862), Catalina, ou La Fille du Bandit (1846), Armide, con tributions to Adolphe Adam's score for Le Corsaire (1856), Pas de Quatre (1845), Paquerette, Faust (1854) and King Candaule. As a composer, Pugni's output numbered 3 12 ballets, 10 operas and 40 masses He died in 5t. Pete rsburg in 1870, at the age of 68.

LEO DELIBES

Leo Clement Philiben Delibes was born in St. Gennain-du-Val in the Depanment of Sanhe, France, in 1836. He died in Paris in 1891. He studied at the Paris Conservatory and immedia tely appeared before the public as a composer of successful operettas, operas and ballets. Of the balle ts, Coppelia and, to a lesser extent, Sylvia are favorites. His appointment to the opera as accompanist (1863) and second chorus-master (1865) turned his interest toward ballet. But opera drew him back, and he wrote three works for the Opera-Cotnique: Le Roi l'a Dit (1873), Jean de Nivelle (1880) and the famous Lakme (1883). Succumbing to (or exploiting) the cu rrent vogue for "the mystelious East," an opera comique trad ition refreshed by the Romantic poets' fascination, Delibes set his tale around the English lieutenant and the Indian girl Lakme with a wealth of delightful mock-Oriental melody It is chiefly for the channing colOring of the scoring that Lakme and the ballets retain an appeal that led Tchaikovsky to ra te Delibes above Brahms. In melody, hannony an d orchestration, Deli bes had that graceful, ligh t-handed touch which is welcomed b y musicians and non-musicians alike. Like Chabrier, but to a lesser degree, Delibes has influenced many composers of different temperament from his own.

MUSIC RICCARDO DRIGO

Ri ccardo Drigo was born in Padua, Italy, onJune 30,1846. He studied withJorich and Bresciani in Padua and with Antonio Buzzo ll a at the Venice Conservatory Before h e left for Russia in 1878, he estab lished a repu tation as a composer an d con ductor in Padua, where his o pera Don Pedro di Portogallo was perfonned in 1868. His first ballet composition was for a series of ad ditional new dances for Marius Petipas 1886 revival of J ules Perrots Esmeralda, including the now- famous Diana and Actaeon Pas de Deux. This was followed by the scores fo r Lev Ivanovs The Enchanted Forest (1887), Petipas threeact ba ll et The Talisman (1889) and lvanovs The Magic Flute (1893) and The Awakening oj Flora (1894).

He was commissioned by the Prince of Monaco to wri te the sco re fo r an opera-ballet, La Cote d'Azur, which received its world premiere in Monte Carlo in 1895. For the coronation festivities of Tsa r Nicho las II in Moscow in 1896, h e wrote the score fo r Petipa's The Pearl. In 1899, he p rovided the music for the now-famous interpolated pas de deux for Petipa's revival of Le Corsaire, expressly for the ballerina Pierina Legnani, followed by Les Millions d'Ariequin (1900). In 1904, he wrote the score for one of Petipas last creations, The Rose and the BLLtterjly, and a pas de tr ois inserted into Sergei and Nicho las Legat's production of The FailY Doll, later to be danced by Anna Pavlova in Les Coquettelies de Columbine, choreographed by Ivan Cl u stine

He remained in Russia for 40 years, becoming the conductor of the Italian Opera in St. Petersburg in 1879, which he resigned from in 1886 to become conductor and composer of th e Imperial Ballet, a post he held until 1917. H e worked with m ost of th e leading dancers and choreographers in Russia at tha t time, and conducted the first perfonnances of Tchaikovskys The Sleeping Beauty (1890) and The Nutcracker (1892), as well as the first perfonnance of Glazunovs Raymonda (1898). During his time in Russia, Drigo made occasional visits to Ita ly, and in 1908, hi s ba llet Le Porte-bonheur, choreograp hed by L. Tornelli, was given its world premiere in Milan. His last-known ballet composition in Russia was TIle Romance oj the Rosebud (1919), after which, dissatisfied with life in Russia after the revolu ti on, he re turned to Padua in 1920, where he lived unti l his de ath on October 1, 1930, age 84. m

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THE AVANTI SOCIETY

The Italian word "ava nti " m ea n s "a h ea d " or "for ward ." The Avanti Socie ty o f Michigan

O p era Th ea tre is a sp ecia l group of forwardthinking donors w ho have d eSigna ted a sp eCial gift to be nefit the organiz at io n in th e future

Th ese gen ero u s gift s en s ure our a rti s ti c pro gr ess in the future for th e b en efit of ge n erations to come.

Gi ft s can be m ad e th rou gh a vari ety o f es tate p lanning instru m en ts , includin g bequ es ts, tru s ts and othe r p lann ed givi n g arran ge m en ts

Benefits of The Avanti Soci ety include :

• In vi tation s to d ress reh earsa ls and other sp ecial eve nt s not offered to the gene ral pu b li c

• Annu al re cognition event fea turin g gu es t artis ts

• Edu cati ona l seminars

• Individu aliz ed es tate p lannin g as sista n ce for b equ ests, tru sts, life income pl an s and ot h er ch aritabl e gifts to Mic higan Opera Thea tre

• Recogn iti on on the do n or wa ll in the Det ro it Op era H ou se an d in the se as on pro gra m bo oks

If you are interes ted in maki n g a p lanned gi ft to Mich igan Op era Th eatre an d th ereby qualifyin g for m emb ership in The Avanti Society, p lease co ntac t:

Jane Fanning, Assoc iate Director of Deve lopm en t at (313 ) 2 37 -3268 or jfa nning@m o t o p era or g or return th e repl y form be low to:

J an e Fanning, Mi chiga n Op e ra Th ea tre 1526 Broadway, Detro it , MI 48226

The Avanti Society of Michigan Opera Theatre

o I am interes te d in rece ivin g furt h er in forma ti on on The Avanti So ciety and planne d givin g arran gem ents with Michigan Op er a Thea tre o I wo u ld be interes te d in attend in g an e d u ca tiona l se min a r on p lanne d giving and the tax a d van tages avail ab le throu g h plann ed giving . My p referred time to a t tend a seminar w ould b e:

o mid -da y 0 even in g 0 wee k en d o I ha ve al r ea d y includ ed Mi chi ga n Op er a Theatre in m y estate p lan s.

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Ruth Rawlings Mou

Clarice Odgers Percox

Mr. Thomas G. Poner

Mr. Mitchell]. Romanowsk

Mr. Edward L. Stahl

In the spring of 1999, Michigan Opera Theatre was proud to be selected as a Leadership Grant participant in the Community Foundation for Southeastern Michigan 's (CFSM) Touch the Future program.

TOUCHTHE FUTURE

Originally, 13 organizations were chosen for this honor, and after March 31, 2001 , only 9 organizations, including Michigan Opera Theatre , remained in the program We are working together with the other organizations and the Community Foundation to build endowments for the future of this community and southeastern Michigan.

As a participant, Michigan Opera Theatre is eligible to receive over $300,000 in matching grant funds into MOT's endowment at the Community Foundation and $130,000 in operating support from CFSM. In order to receive these funds , we must raise ove r $2 ,000,000 in qualified planned gifts, such as Charitable Gift Annuities , Charitable Remainder Trusts, Life Insurance or Pooled Income Funds.

To date , Michigan Opera Theatre has raised over $330,000 (face value) of new endowment gifts through the Touch the Future program, and has received $50,000 in matching funds for its endowment at the Community Foundation.

By giving to the endowment of your favorite charity, your generosity and your belief in community will touch lives for years and years to come. And if that 's not immortality, what is? Find out more by contacting the Michigan Opera Theatre at 313-237-3268 or the Community Foundation for Southeastern Michigan at 1-888-WE-ENDOW or www.cfsem.org

Detroit Opera House

If you would like more information about how you can be a part of this unparalleled opportunity for Michigan Opera Theatre, please call Jane Fanning in the planned giving department at (313) 237-3268.

Together, we can touch the future .

Copyright 2010, Michigan Opera Theatre

www.MichiganOpera.org

Administration & Staff

DAVID DICHIERA Matthew S. Birman

Annette M. Lozon MUSIC

Robert Martin

General Director Communications Manager of DEPARTMENT Head Flyman Coordinator Foundation & David DiChiera

Steve Kemp

BRETI BATIERSON Jane Coe Government Music Director Head Soundman

Kimberly Gray Relations

Chief Operating

Gary Gilmore Ticket Services

Suzanne Mallare

Lauren Allion Acton Production Officer Assistant Membership Assistant Music Electrician

DEPARTMENT Managers Manager Director, Chorus

Christy Gray

Mary Ellen Shindel

Heather Hamilton Master Head of Wardrobe

DIRECTORS Ticket Services Volunteer

Diane Bredesen

IATSE Local #38

Karen VanderKloot Representative Coordinator Orchestra Stagehands

DiChiera Timothy Lentz

Kathleen M. Personnel

IATSE Loca l #786

Director oj Archivist McNamara Manager Wardrobe

Community Jeanette Pawlaczyk Corporate Jean Schneider Programs Public Relations Campaign Rehearsal DETROIT

John Eckstrom Assistant Manager Accompanist

Director oj Bill Carroll

Jane Westley

OPERA HOUSE

Trish AlmqUist

Administration Public Relations Development Stage Management Event Coordinator

Roberto Mauro Volunteer Associate , General Demetrius Barnes

Director oj Artistic Director's Circle Technical Staff

Jesse Carter Administration Community

Danielle DeFauw

Randall L. Mauck Building Engineers

David W Osborne Programs Boutique Manager Technical Director

Director oj Mark Vondrak

Elisa Giuliani

Monika Essen House Manager

Production Tour Manager Rnance/ Computer Property Master

Mary Parkhill Betty Lane Services

Director oj Program Manager

Development

William T Schulz

Kyle Ketelhut

Kendall Smith Concessions

Lighting Manager

Dolores Tobis Controller Coordinator

Jennifer Turner Office & Kimberly Burgess -

Rock Monroe

Director of Director oj Facilities Marketing Rivers

Laura R. Wyss Manager

Keith Kalinowski

Technical Security

Rita Winters Assistant

Director oj Betsy Bronson Accountants

Communications

ADMINISTRATION

Alaina Brown

Joseph Rusnak

Maria Cimarelli Systems Manager

Jennifer Gale

Calvin Williams

Maintenance

Costumes Supervisor

Suzanne M. Hanna

Keith Bibbins Costume

Bill Austin Lawrence Picard Systems Coordinator

Assistant to the David Pulice Programmer

General Director

linda DeMers

Karl Schmidt

Mark Vondrak

PRODUCTION

Executive Assistant Chancellor Wyman Production

Beverly A. Moore Outreach Touring Administration

Receptionist Company

Elizabeth Neds-Fox

Production

Communications Development Coordinator

Michael Hauser

Jane Fanning

Carolyn Geck

Marketing Associate Director Production

Manager of Development Assistant

Kimberly A. Stephani Miller

Nancy Krolikowski

Mary Ellen Shindel

Bobby Abrams

Stephanie Miller

Ron Mosley

Stage Door

First Hand Security

Margaret Bronder

Second Hand

Ulla Hettinger

Pricia Hicok

Genevieve

Palczynski

Stitchers

Alice Moss

Wardrobe Mistress

Jocelyn Doodell

Mogielski Yates Local Assistant

Patron and Ticket Assistant Director Transportation

Services Manager of Development Coordinator

Jenise Collins

Bradley L. Stroud

Pat Lewellen

Group Sales and Director of Dance Audition

Wardrobe Mistress

Stage Crew

John Kinsora

Patron Services Development Volunteer Head Carpenter Supervisor

Eugene Robelli

Robert Mesinar

Production Head Electrician

Volunteer

Alan Bigelow

Head Property man

General Information

PHOTOGRAPHY Be RECORDING

DEVICES

Unauthorized cameras and recording devices are not allowed inside the theater at an y time The taki ng of photographs of th e theater or any performance is stri ctly prohibited. As a courtesy to our guests, we ask that all paging devices, cell phones and alarm watches be switched to silent mode prior to the start of a performance.

usher, please call the usher hotline at 313/237 -3253.

LATE SEATING Latecomers will be seated only during an appropriate pause in the program and may view the program on closed-circuit television monitors lo ca ted in the lobbies until an appropriate program pause occurs. Late seating poliCies are at the discretion of the production, not opera house management.

members to hear the music is a prerequisite to enjoyment of the performance. In all cases, babes in arms are not permitted.

IN

CASE OF EMERGENCY

Doctors and parents are advised to leave their seat lo cation (located on ticket) and our emergency number, 313/237-3257, with the service or sitter in case of an emergency Please observe the lighted exit signs located throughout the theater. In the event of fire or similar emergency, please remain calm and walk - do not run - to the nearest exit. Our ushers are trained to lead you out of the bUilding safely A trained Emergency Medical Technician (EMT) is on site during most events. Please see an usher or staff member to contact the EMT.

LOST Be FOUND Lost and Found is located in the Security Department. Please see an usher if you have misplaced an article, or call 313/961-3500 if you have already left the theater. Items will be held in Lost and Found for thirty da ys.

PARKING Parking for all events is availab le in the Opera Hou se Garage , lo cated directly across from the Detroit Opera House (on J ohn R. and Broadway streets). Prepaid parking is available through the box office. Please call 313/237-SING for parking in form ation .

SERVICES Concession stands are lo ca ted in all levels. Please note that food and drinks are not allowed in the auditorium at any time. Coat check is lo cated in the Ford lobby The cost is $1.00 per coat. Please note that the Detroit Opera House does not accept responsibility for any personal articles that are not checked at the coat check. Drinking fountains are located in the lobbies on floors one and three. Public pay phones are located in the ves tibul e of the Ford Lobby Patrons in wheelchairs can access pay phones outside the third-floor ladie s' restrooms.

RENTAL INFORMATION

The Detroit Opera Hou se is available for rent by your organization. Please call Jennifer Turner, Director of Facilities, at 313/961-3500 to receive rental information

RESTROOMS

Ladies' restrooms are located off the Fo rd Lobby (Broadway street entrance), down th e stairs and also on the third floor (Madison stree t entrance) - p lease press "3 R" on the elevator to reach these facilities. Gentlemens restrooms are located under the Grand Staircase, and also on the third floor (Broadway street entrance) - please press "3 " on the elevator to reach these facilities. Please note: All third-floor re strooms are wheelchair accessible

NO SMOKING The Detroit Opera Hou se is a smoke-free facility Ash receptacles are provided on the exterior of all entry doors for those who wish to smoke.

USHERS Ushers are stationed at the top of each ais le If you have a question or concern, please inform ushers , and they will contact management. If you are interested in becoming a vo lunt eer

EMERGENCIES

ACCESSIBILITY Accessible seating locations for patrons in wheelchairs are located in all price ranges on the orchestra level. When inquiring about tickets, please ask about these locations if you require speCial accommoda tions.

Assisted Listening Devices are availab le on a first-come , first-served basis. Please see an usher to request this service. Alth ough this is a comp limenta ry service, we will request to hold a piece of personal identification while yo u are using the device. Please con ta ct the Bo x Office , sho uld you desire special consideration.

CHILDREN Children are welcome; however, all guests are required to hold a ticket, rega rdless of age. We kindly ask that parental discretion be exercised for certain programs , and that all guests remember that during a program such as opera or ballet, the ability of all audienc e

IMPORTANT NUMBERS

313/237-3257 Usher Hotline

TICKET INFORMATION

The Detroit Opera House Ticket Office hours are as follows: Non-perfo rma nce weeksMonday through Friday 10:00 a.m. to 5:30 p.m. Performance days - 10:00 a.m. through the first intermission of the evenings performance, except Saturdays and Sundays, when the Ticket Office will open two hours prior to cu rtain. Tickets for all public events held at the Detroit Opera House are also available through all TicketMaster phone and retail outlets.

OPERA HOUSE TOURS Come join the Opera Hou se Ambassadors for a backstage tour of th e Detroit Opera House Learn about the hiStory of the Opera House and its restoration. Meet the people behind the scenes, tour the stage and see how it operates. Tours are $ 10 .00 per person. For more information , please call 313/23 7-3407.

DaimlerChrysler proudly supports the Michigan Opera Theatre and is honored to be the exclusive sponsor of their 2001-2002 dance season

DAIMLERCHRYSLER

Copyright 2010, Michigan Opera Theatre

www.daim lerch rysler.com

Our engineers may not be graceful dancers, but they do know their left foot from their right.

The Nutcracker Cast December 7-11, 2001

ACT!

.

Part)!. Childre.1l

Adam Parus Allen Wiseman

Evan Autio James Moore

Van Doescher Stephani Houghton

Leah Chilcutt Noelle Hardy

Chelsea Nedrow Julia Pyko

Maids

Stephanie Middaugh Jessica Thomas

Dolls

Rachel Rebecca Gretchen Weed

Erin Parus

Babv Mice. ..

Brittany Noble Jillian Parus

Ashley Orsette (1217, 12/8M1E, 12/9M1E)

Katie Weed (12110M, 12/11M)

Soldiers

Samantha Legare

Gina Guzzardo

Blaise Badynee

Snow

Emily Greenwell

Lindsay Carless

Megan White

Megan Okoniewski Steffany Bozeman

Lauren Lochner Lindsay Lochner

Colin Klosterman

Ryan Lotan

Rebecca Fisher

Sarah Tilden

Shae Badynee Noel Granger

Amanda Kisic

Katie Copeland

Katherine Rothermel

Darlene Chudzinski(l2/8M, 12/9M/E, 12/10, 12/11)

Barbara Schoen(l217, 12/8E)

ACT II

Rachel Rebecca Gretchen Weed

Brittany Noble

Kelsey Kenrick Copyright 2010, Michigan Opera Theatre

Shepherd

Dominic Santia

Waltz of the Flowers

J

Chelsey Shirk

Leah Chilcutt Stephani Houghton Noelle Hardy

Rebecca Fisher

Sara Bride

CHILDRENS' REHEARSAL DIRECTORS

Jo Ann Cusmano and Judith Molina

Students from the following dance schools are participating in the Nutcracker production.

American Dance Academy

Bev's Dance Studio

Birmingham Dance Center

Bravo Dance Center

Broadway Bound

Bunny Sanford's School of Dance

Channaines Studio of Dance

Cre8tive Fine Arts Academy of Dance

Dance Classics of Ann Arbor

Dance Dynamics

Dance Steps Studio

Dancer's Image

Dancer's Workshop

Deborah's Stage Door

EDE Center for Dance

Geiger School of Ballet

Gotta Dance

ICEl of Music and Dance at Marygrove College

Kensington School of Dance

Knapp School of Dance

Mary Skiba School of Dance

M.B.S. School for the Performing Arts

O'Day School of Dance

Performing Arts Academy

Pointe Academy of Dance

Pointe Counterpoint

RARA

Rochester School of Ballet

The Dancer's Studio

The Sports Club of Novi

Tina Marie School of Dance

Turning Point

Wayne State University

The Nutcracker sco re will be peiformed by the Michigan Opera Theatre Orchestra, as fe atured on page 260/ the Bra v o program.

ACT I

E.T.A. HoffmanlHerr Drosselmeyer

Frau Von Stahlbaum

Counse lor Von Staulbaum

Grandmother

Grandfather

Clara Fritz

Gu e sts Adrienne Atkins

Rebekah Cris c imagna

Svetlana Kazonina

So YonNam

Rachel Rutland

Maria Tyu kova

Sergei Berejnoi

Janna Sinitsyna

Alexei Tyukov

Melinda Bower

Phillip Velinov

Emily Momberg

Cory Lingner

Alexei Agoudine

Nikolai Balatsenko

Vadim Dulepa

Selahattin Erkan

Sergey Serg iev

Oybeck Tashpulatov

Sugar Plum Doll

Nutcracker Prince Doll

Ratilda

Nutcracker Soldier Doll

Mouse King

Mice Adrienne Atkins

Kerrie-Anne Dunn

Stephanie He ston

Nutcracker Prince

Snowflakes Rebekah Criscirnagna

Kerrie-Anne Dunn

Stephani e Heston

So YonNam

Irina Komarenko

Rebekah Criscimagna

Kerrie-Anne Dunn

Katherine Lawrence

Vadim Pijicov

Jamie Marie Planko

LieslRinke

Jill Schwartz

Yuri Beletskiy

Jamie Marie Planko

Liesl Rinke

Rachel Rutland

Maria Tyukova

Copyright 2010, Michigan Opera Theatre

Sugar Plum Fairy

Nutcracker Prince

E.T A. HoffmanlHerr Drosselmeyer

King Queen

Spanish Dance Kerrie-Anne Dunn

Arabian Dance Svetlana Kazonina

Chinese Dance Rebekah Criscimagna

Russian Dance Rachel Rutland

Little Shepherds Tuesday Perry

Dominic Santia

Waltz of the Flowers

Stephanie Heston

Katherine Lawrence

So YonNam

Jamie Marie Planko

Maria Tyukova

Grand Pas de Deux

Finale & Apotheosis

Company/Production Manager

Production Stage Manager

Costume Manager Assistant Stage Manager

Costume Assistant

Irina Komarenko

Yuri Beletskiy

Sergei Berejnoi

Alexei Tyukov

Janna Sinitsyna

Phillip Velinov

Oybeck Tashpulatov

Alexei Agoudine

Nikolai Balatsenko

Kristin Young

Vadim Dulepa

Selahattin Erkan

Sergey Sergiev

LieslRinke

Irina Komarenko

Yuri Beletskiy

Ensemble

Charles D. Stepp

Lisa Marie Lange

Stephanie Rossell

Heather Lafferty

Guzal Tashpulatova

Special guest artist SERGEI BEREJNOI is Ballet Master for the Boston Ballet and fonner Principal Dancer with the Kirov Ballet. A native of Odessa, the Ukraine, Berejnoi is a graduate ofthe famed Vaganova School in St . Petersburg. He began his ballet training at age lOin his native Odessa, and also attended the Kiev Choreography School. He perfonned throughout the world as a principal dancer with the Kirov Ballet for 23 years, dancing a wide range of classical roles He has perfonned principal roles in many dance videos such as The Sleeping Beauty, Swan Lake and Diana and Acteon. He taught at the Kirov Ballet and at the Vaganova School. He has been a Ballet Master for Boston Ballet since 1993. In 1997 he staged the American premiere ofPetipa's Le Corsaire for Boston Ballet with Natalia Dudinskaya, Vadim Desnitsky and Anna-Marie Holmes . That same year he assisted Ms. Holmes in staging Swan Lake in Oslo, Norway.

Copyright 2010, Michigan Opera Theatre

The Nutcracker score will be perform ed by th e Michigan Opera Th eatre Orchestra, as featured on page 26 of the Bra v o program

llulle l ilJt e rlluliorlll/ C The Nutcracker Cast December 9, 2001 - 2:00 p.m.

ACT!

E .T.A. HoffmanlHerr Drosselmeyer

Frau Von Stahlbaum

Counselor Von Staulbaum

Grandmother

Grandfather

Clara Fritz

Guests Adrienne Atkins

Kerrie-Anne Dunn

Stephanie Heston

So Yon Nam

Liesl Rinke

Janna Sinitsyna

Sergei Berejnoi

Svetlana Kazonina

Alexei Tyukov

Rachel Rutland

Vadim Pijicov

Kristin Young

Chris Lingner

Alexei Agoudine

Mykola Balatsenko

Vad im Dulepa

Selahattin Erkan

Sergey Sergiev

Phillip Velinov

Sugar Plum Doll

Nutcracker Prince Doll

Ratilda

Nutcracker Soldier Doll

Mouse King

Mice Melinda Bower

Rebekah Criscimagna

Katherine Lawrence

Nutcracker Prince

Snowflakes Rebekah Criscimagna

Kerrie-Anne Dunn

Stephanie Heston

Svetlana Kazonina

Karen Scalzitti-Kennedy

Katherine Lawrence

Melinda Bower

Chieko Oiwa

Oybeck Tashpulatov

Jamie Marie Planko

Jill Schwartz

Maria Tyukova

Ogulcan Borova

SoYonNam

Jamie Marie Planko

Liesl Rinke

Maria Tyukova

Sugar Plum Fairy

Nutcracker Prince

E.T.A. HoffmanlHerr Drosselmeyer

King

Queen

Spanish Dance Irina Komarenko

Arabian Dance So Yon Nam

Chinese Dance Chieko Oiwa

Russian Dance Katherine Lawrence

Little Shepherds Lauren Cote

Dominic Santia

Waltz of the Flowers

Melinda Bower

Rebekah Criscimagna

Kerrie-Anne Dunn

Stephanie Heston

Liesl Rinke

Scalzitti-Kennedy

Ogulcan Borova

Sergei Berejnoi

Alexei Tyukov

Janna Sinitsyna

Oybeck Tashpulatov

Salahattin Erkan

Vadim Pijicov

Nikolai Balatsenko

Emily Momberg

Alexei Agoudine

Vadim Dulepa

Phillip Velinov

Svetlana Kazonina

Pas de Deux

Finale & Apotheosis

Company/Production Manager

Production Stage Manager

Costume Manager Assistant Stage Manager

Costume Assistant

Karen Scalzitti-Kennedy

Ogulcan Borova

Ensemble

Charles D. Stepp

Lisa Marie Lange

Stephanie Rossell

Heather Lafferty

Guzal Tashpulatova

Special guest artist SERGEI BEREJNOI is Ballet Master for the Boston Ballet and fonner Principal Dancer with the Kirov Ballet. A native of Odessa, the Ukraine, Berejnoi is a graduate of the famed Vaganova School in st. Petersburg. He began his ballet training at age 10 in his native Odessa, and also attended the Kiev Choreography School. He perfonned throughout the world as a principal dancer with the Kirov Ballet for 23 years, dancing a wide range of classical roles. He has perfonned principal roles in many dance videos such as The Sleeping Beauty, Swan Lake and Diana and Acteon. He taught at the Kirov Ballet and at the Vaganova School. He has been a Ballet Master for Boston Ballet since 1993 In 1997 he staged the American premiere ofPetipa's Le Corsaire for Boston Ballet with Natalia Dudinskaya, Vadim Desnitsky and Anna-Marie Holmes. That same year he assisted Ms Holmes in staging Swan Lake in Oslo, Norway

Copyright 2010, Michigan Opera Theatre

THE DETROIT OPERA HOUSE AND AMERICAN BALLET THEATRE RECOGNIZE MEMBERS OF DANCE ALLIANCE 2001·2002

Allard Academy of Dan c e-Ea stpointe

American Dance Acad e my- Commerce Township

American Dance Academy-South Lyon

Ann Parsley School of Dan c e -Clinton Township

Barbara Hatch School of Dance-Farmington

Betty Johnson Studio-Birmingham

Birmingham Ballet & Jazz-Birmingham

Birmingham Dance Academy -Birmingham

Bunny's School of Dance-Livonia

Chris' Dance Workshop -Port Huron

Community School of Ballet-Ann Arbor

Dance Arts Academy-Traverse City

Dance Ensemble West-Plymouth

Dancing Feats Dance Center-Farmington Hills

Dance Force-Marine City

Dance Gallery/Peter Sporting Dance CO .- Ann Arbor

Dance Unlimited-Plymouth

DanCentre at Sports Club of Novi- Novi

Dancin'lnc-Holly

Dancing Feats Dancing Center-Farmington

Deborah's Stagedoor Center for the Performing Arts-Rochester Hills

Detroit Dance Collective-Huntington Woods

Doris Marsh-School of Classical Ballet-Sag inaw

EDE Center for Dance-Rochester Hills

Eisenhower Dance Ensemble -Roche ster Hills

Freedom Danz Xpressionz-Detroit

Geiger Classic Ballet Academy-Bloomfield Hills

Happendance-Okemos

Harrison Dance and Creativity Centre Inc.-Harrison

Hope College, Dance Department-Holland

lene ' s Dance Electric-Farmington Hills

Karen ' s School of Dance -Highland

Kensington Community Church School of Dance-Troy

Knapp School of Dance-Warren

Lansing Chamber Dance-East Lansing

Maggie Allesee Dept. of Dance/WSU -Detroit

Marcia ' s School of Dance-Wyandotte

MBS Training Center for the Perform ing Arts-Oak Park

Metro Dance-Plymouth

Michigan Dance Centre-Linden

Milligan School of Ballet-Dearbom Heights

MoreDances Contemporary Dance Co -Troy

O'Day School of Dance-Detroit

Osborne Dance Ensemble-Detroit

Pointe/Counterpoin t e Dance Centre-Garden City

RenaissanceDance Workshop-Detroit

Rochelle Bertsch School of Ballet-Mount Pleasant

Saginaw Arts and Sciences Academy-Saginaw

Spotlight Dance Academy-Grand Haven

Steppi n ' Out Dance Studio-New Baltimore

Studio 1 School of Dance/DEMI-Ann Arbor

Sickle's Dance Gallery-Dearborn

Suzanne Hawkins' Ballet Workshop

The Dance Center, Inc .-Traverse City

The Dance Centre, Inc.-South Lyon

The Pointe Academy of Dance, Inc -Rochester Hills

Toni's Dance Studio -Mount Pleasant

Youth Dance Theatre of Michigan, Inc-Chelsea

The Detroit Opera House and American Ballet Theatre have joined to create Dance Alliance, a community outreach program designed to support Michigan's many dance studios while promoting the art of dance and strengthen the Opera House's commitment to provide world-Class dance for its audiences

For more information , contact Jenise E. Collins at 313 237-3409, or e-mail: motgroupsales@motooera.org Copyright 2010, Michigan Opera Theatre

Home of Michigan Opera Theatre David DiChiera, General Director