30 minute read
Welcome Letter
Welcome
Dear Houston Ballet friends,
I am thrilled to welcome you to George Balanchine’s elegant ballet Jewels. Famed for its glittering costumes and iconic choreography, this production highlights three acts embodying three very different gemstones, united by their common attributes of grace, beauty, and luxury.
Jewels opens with Emeralds, performed to the elegant music of Gabriel Fauré. Balanchine’s choreography exudes both sophistication and strength as the artists dance in bejeweled green costumes. Second comes Rubies, a divergence from Emeralds, with sharp movements and fire-red fringed leotards. The dissonant compositions of Igor Stravinsky accompany the ballet’s dynamic movements, which are meant to serve as a contrast to Jewels’ first and third acts. Diamonds then closes the show with its timeless choreography and opulent costuming. The music of Balanchine’s artistic inspiration, Pytor Ilyich Tchaikovsky, creates a finale that is nothing short of extraordinary.
As the first full-length abstract ballet, Jewels made history and delighted audiences with its decadence and grandeur. Generously underwritten by cherished friend of Houston Ballet Hallie Vanderhider, this production is a wonderful opportunity to see our company perform a Balanchine ballet truly unlike any other. Houston Ballet’s performances of Jewels feature the stunning work of Emeralds and Diamonds repetiteur Diana White, and Rubies repetiteur Bart Cook. Having both been students of Balanchine himself, these repetiteurs bring invaluable perspectives to our production here in Houston.
I want to thank you, our loyal patrons. Your continued support is invaluable to our company, and we are delighted to have you in the theater with us.
See you in the theater,
STANTON WELCH AM
Houston Ballet Artistic Director
Houston Ballet 601 Preston Street, Houston, TX 77002
Stanton Welch AM Artistic Director
James Nelson Executive Director
Ben Stevenson OBE Artistic Director Emeritus
PUBLISHED BY Houston Ballet
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Houston Ballet HoustonBallet
Vol. 4, Issue 3
Jewels
VOL. 4, ISSUE 3 2022
ON THE COVER Principal Jessica Collado with Artists of Houston Ballet in Rubies. Photo by Amitava Sarkar. Choreography by George Balanchine. © The George Balanchine Trust
FIRST POSITION
SPOTLIGHT p. 12 | ANATOMY OF A SCENE p. 13 | EN POINTE p. 14 | UPLIFT p. 15
Artists of Houston Ballet in Diamonds . Photo by Amitava Sarkar Choreography by George Balanchine. © The George Balanchine Trust
Analyzing Balanchine
A 20th century gem reveals the many facets of Mr. B
AS THE FOREMOST CHOREOGRAPHER
in the modern era of ballet, George Balanchine nearly single-handedly expanded the vocabulary of the art form. With an emphasis on speed, athleticism, movement above linear storytelling, and a preference for minimalism over exorbitant theatricality, he developed more than 400 dance works in his neoclassical style between 1920 and his death in 1983. Despite his Russian origins, the choreographer’s influence shaped the landscape of American ballet immeasurably, creating ripples throughout the international dance world.
From dancers, Balanchine’s work demands an embodiment of style and a musicality as complex as its
score. “He pushes the envelope,” says Houston Ballet ballet master and former Principal Amy Fote of Balanchine’s choreography, “not only challenging you musically but technically.”
Fote’s advice when coaching a Balanchine ballet is to take risks and chances. “Go further than you think you can.”
The principles of the Balanchine method of training manifest throughout the choreographer’s much-beloved, 1967 triptych Jewels. Its elegant and wistful opening movement, Emeralds, is adorned with a supple port de bras featuring characteristically persistent energy that extends to the very tips of the dancers’ fingers. Hip thrusts, quickly pivoting footwork and big, off-kilter arabesque distinguish the daring second act, Rubies. Dancers keep their weight in the balls of their toes, ready to alight out of nowhere. When all angularity falls away in the regal and composed final movement, Diamonds, dancers rise through the foot instead of springing away from gravity’s pull and transition to plié with the indicative elasticity of Mr. Balanchine’s technique—unwilling to ruffle even the air.
Each movement of Jewels evokes a period and tradition in ballet. Balanchine captures the Romanticism of early-19th century ballet in Emeralds, the deep green palette stirring images of enchanted forests and youthful romance. He returns to his Russian imperial ballet roots, exploring mature relationships with courtly grandeur in Diamonds, and flirts with his mid-20th century present to explore a more egalitarian love affair with American swagger and a dash of female empowerment in Rubies.
“If someone had never seen ballet, you get a little taste of it all,” remarks Fote.
The son of a composer, Balanchine simultaneously studied piano and ballet intensively throughout his youth. The depth of his musical training is expressed eloquently in Jewels, as is his philosophy that dance needs no narrative. Famously quoted as having described dancing as “music made visible,” Balanchine’s artistic worlds merge on stage as he interprets excerpts from Gabriel Fauré’s Pelléas et Mélisande and Shylock, Igor Stravinsky’s Capriccio for Piano and Orchestra and Tchaikovsky’s Symphony no. 3, to dazzling effect in Emeralds, Rubies and Diamonds (respectively).
In viewing Jewels, one attendant may indeed “see the music and hear the dance,” as Mr. B himself commands. Another might be captivated by the intricate patterns in the master’s choreography or delight in spying references to ornamental necklaces in the shape of a dancer’s arms. Still, another audience member may imagine a plot where supposedly none exists.
As gems do, Jewels sparkles due to a multitude of quintessentiallyBalanchine facets.
SPOTLIGHT
Hallie Vanderhider
Jewels underwriter and avid Ballet Ball supporter Hallie Vanderhider talks jewels: from George Balanchine’s abstract work and Houston Ballet’s dancing gems to a glittering themed Ballet Ball.
On supporting timeless works like Jewels: Longstanding companies like Houston Ballet are so diverse in their repertoire. That’s what makes our company special. It’s always nice to see the dancers showcase their expert training in classic works like Jewels. I feel it’s important to support Houston Ballet’s ability to maintain the integrity of the company’s skills and technique through the classics.
On seeing Houston Ballet’s dancing gems take the stage: Nothing could make me happier than having the opportunity to see our dancers do what they do best live and onstage. They are so talented and their careers are not as long as many due to the athleticism required of them; therefore, we have to enjoy every leap and turn to the fullest.
On Houston Ballet’s most dazzling event: The Houston Ballet Ball is an evening unlike any other in the city. Anyone can throw a party, but no one does it quite like Houston Ballet. This year’s ball was themed Balanchine’s Jewels. Richard Flowers and The Events Company really take each theme seriously and the patrons are fully immersed from the moment they step out of their cars. Plus, the dancers really make the evening. It’s unique and special to not only dine with them but to also cut loose with them on the dance floor!
TWINKLING TIARAS
Fun headpieces adorn the women of Rubies. While three different styles are present throughout the movement, this headpiece – shaped from wire and wrapped with cording – is covered in Swarovski crystals, faux rubies, and gold trim. Upon closer inspection, red mylar tabs also fill the gaps in between crystals to add shine and catch the light without adding weight.
IMITATION GEMSTONES
Imposter jewels made from plastic and wrapped in foil provide a lightweight and durable alternative to the real thing. Placed among an abundance of prong set jewels and Swarovski crystals, these faux gems shine just as brightly under the stage lights. These jewels embellish rich red spandex, velvet, and satin fabrics as well as souffle, nude illusion fabric used on the neckline of the women’s costume.
TWO BECOMES ONE Although it appears as one garment, the men’s costume is comprised of two pieces: a sleeve unit and a tunic. This traditional trick to men’s ballet wear allows for more mobility. The sleeve unit’s body is made from spandex, which allows the sleeve to be made from a solid satin fabric. The tunic, made from velvet, is then worn over the sleeve unit to appear as one seamless garment.
THE PEP IN PEPLUM The women’s peplum skirt alternates between satin and velvet tabs backed with a metallic crepe to accentuate Balanchine’s fiery choreography, and the men’s skirt follows similarly with metallic mesh. “If it were all red, it would all just kind of blend together,” says Fox. “I think with the metallic accent, you see the movement. So much of the movement of this ballet is reflected through these little tabs.”
ANATOMY OF A SCENE
The Glitz & Glamour of Jewels
A closer look at the showstopping designs of Jewels costume designer Karinska IN GEORGE BALANCHINE’S DECADENT BALLET JEWELS, there’s no shortage of dazzling gemstones, vibrant colors, and classic designs. The abstract ballet, inspired by a collection from jeweler Claude Arpels, decks out dancers in emeralds, rubies, and diamonds with elegant designs from costume designer Karinska.
Which tracks for Oscar-winning costume designer Karinska, whose golden design years were during the height of old Hollywood. Born Varvara Zhmoudska, Karinska emigrated from Ukraine and made stops in Paris and London before finally landing in New York City in 1939 to escape brewing conflict from World War II. Given a room at the School of American Ballet by Balanchine, Karinska’s new home provided a plethora of opportunities for collaboration from ballet to the silver screen.
Karinska’s designs for Jewels’ 1967 premiere expertly ties together her skill for ballet costumes and showstopping screen designs. While each costume’s basic form encompasses quintessential dance wear, the wow-factor comes down to Karinska’s ability to mimic the brilliance of emeralds, rubies, and diamonds through lightweight foil wrapped plastic in a sea of Swarovski crystals on vibrant fabrics. Take a closer look at Karinska’s beautiful designs through the Rubies costumes above.
STEP BY STEP
Emeralds and Diamonds repetiteur Diana White talks through her detailed staging process
1. MUSCLE MEMORY
“The beginning of the process starts with my own experience; for example, if I danced in Emeralds and Diamonds, I start with my own muscle memory and what I remember. I was in the company (New York City Ballet) for 20 years, and in certain cases, I saw shows danced by the original cast members, so I may have a certain visual recollection of the piece.”
2. VIDEO VIEWS
“Then, there’s a long process of deconstructing by watching the videos. I watch the different areas of the ballet: the corps de ballet, the soloists, the principals; everybody has a part in the architecture of the ballet. They each have their own directions, so it’s a tremendous amount of preparation.”
3. SPELL IT OUT
EN POINTE
Setting the Scene
From counts to choreography to onstage positioning, repetiteurs help shape ballets to take the stage. Emeralds and Diamonds repetiteur Diana White talks about bringing George Balanchine’s signature style to Houston Ballet and working with the world-class company.
George Balanchine is celebrated as the father of American ballet; his ‘neoclassical’ style and technical approach made his works distinct and recognizable. As a repetiteur, do you find staging Balanchine’s work different from staging other works? What makes Balanchine’s style so unique? The style is inherent in the choreography; it’s straightforward. When talking about Balanchine’s style, most people will mention an element of daring, an extreme quality. Above all, it’s musical. Great classical choreographers were often musical, but with Balanchine, it’s like the steps evolved from the music. It’s sort of out-there; it’s very open. When executed by a well-trained, classical dancer, there’s a sense of abandon and freedom with 100% commitment and energy.
Jewels’ three acts are distinctly different in most aspects, yet they string together to form one complete ballet. In terms of staging, which aspects of Emeralds and Diamonds make the two acts unique? Which aspects help unify them? What makes them unique is their music. The music evokes different eras and countries. For example, the Emeralds composer Gabriel Fauré is French, and the whole act is chic and elegant; it has a certain serenity... What unifies Jewels’ acts is the joy of dance. And of course, you have these incredible costumes too, the ‘look.’ It’s like we’re in a heavenly jewel box; it’s a transcendent world. It’s unimaginably beautiful.
What is it like to work with Houston Ballet? Having worked with many ballet companies throughout your career, what sets Houston Ballet apart? Houston Ballet is totally prepared; they’ve danced a lot of Balanchine, and they’ve worked with the best repetiteurs and coaches from Balanchine’s era already. Another thing I love is the diversity of the dancers…Because of this, so many dancers bringing different qualities to the table, you get this versatility. To top it off, the absolute joy and privilege of being able to perform Jewels is not lost on these dancers. They’re so excited to be doing this choreography, especially during these times; to be able to hear the music and perform for an audience, even just to be in a studio and working is a fantastic thing. It’s such a gift.
UPLIFT
ARE YOU A
Balanchine Buff?
Think your ballet knowledge is en pointe? Put it to the test with this true or false quiz about Jewels choreographer George Balanchine.
START THE QUIZ | TRUE OR FALSE?
1. George Balanchine was born and raised in Paris, France.
2. The first ballet in which Balanchine appeared onstage was The Sleeping
Beauty, the performance which he later said made him “fall in love with ballet.”
3. George Balanchine co-founded New York City Ballet along with renowned dance historian Lincoln Kirstein.
4. Balanchine was a revolutionary choreographer with an innate sense of musicality despite not having any formal musical training.
5. George Balanchine had four wives throughout his lifetime.
6. The three acts of Balanchine’s Jewels – Emeralds, Rubies, and Diamonds – are never performed as standalone ballets.
7. In addition to his impressive original ballet repertoire, Balanchine also created choreography for Broadway shows and Hollywood movies.
8. During his career, George Balanchine received many accolades, including an
Emmy nomination, the first Kennedy Center Honors, and the Presidential
Medal of Freedom.
SCORE YOURSELF | ANSWERS
through his talents.” True; President Ronald Reagan once said Balanchine “Inspired millions with his stage choreography and amazed a diverse population (1936) and the movie The Goldwyn Follies (1938). True; Among his most celebrated works are Broadway’s On Your Toes False; Jewels’ acts are often performed as solitary ballets, most frequently Rubies and Diamonds.
True; Balanchine was married four different times to Tamara Geva, Vera Zorina, Maria Tallchief, and Tanaquil LeClercq respectively. harmony, and counterpoint, for three years.” False; According to NYC Ballet, Balanchine was a gifted musician who “studied piano and musical theory, including composition, True; Kirstein and Balanchine co-founded NYC Ballet in 1948. Theater. 8. 7. 6. 5.
4. 3.
HOW’D YOU DO?
RESULTS
0-3 Correct:
BALANCHINE BEGINNER
While you may not be familiar with all of George Balanchine’s history, you’ll still adore this dazzling performance designed to enchant ballet fans and newcomers alike. Balanchine was famed for his musicality and boundarypushing choreography, both of which you’ll be able to spot on the stage; you’ll be an expert before you know it!
4-6 Correct:
BALANCHINE ON THE BRAIN
Well done! You’re no stranger to George Balanchine’s accomplishments, and you definitely know more about him than the average person. Hopefully, this quiz taught you some new fun facts about the father of American ballet; next time, you’ll be a Balanchine Buff for sure!
7-8 Correct:
BALANCHINE BUFF
Bravo! You know your ballet history inside and out! You’re quite familiar with George Balanchine and his contributions to modern-day ballet. You’re likely a balletomane yourself, and your Balanchine knowledge will further your appreciation of his trademark neoclassical style in Jewels.
JEWELS
FEBRUARY 24 - MARCH 6, 2022
- CULTUREMAP
This performance lasts approximately two hours and twenty minutes.
There will be two intermissions lasting twenty minutes each.
For casting, scan the QR code.
Emeralds
Costume Design by Karinska (1886-1983)
Staged by Diana White
WHAT YOU’RE WATCHING
Two leading couples, three soloists and a corps de ballet of ten women take the stage for Emeralds. Emeralds is often cited as the most reserved of the three, and the romantic tutus enhance the dreamy and elegant choreography. Balanchine once said about the piece, “It is perhaps an evocation of France, the France of elegance, comfort, dress, perfume.”
WHAT YOU’RE LISTENING TO
The backing track to Emeralds consists of excerpts from two works of French composer Gabriel Fauré: Pelléas et Melisandra and Shylock. Both pieces are derived from incidental music – background music intended to add atmosphere to plays, television programs, and other mediums that are not primarily musical.
Rubies
Music by Igor Stravinsky (1882-1971) Capriccio for Piano and Orchestra by arrangement with Boosey & Hawkes, Inc, publisher and copyright owner
Costume Design by Karinska (1886-1983)
Staged by Bart Cook
Katherine Burkwall-Ciscon, Pianist
WHAT YOU’RE WATCHING
Once likened to Times Square at midnight, Rubies is a strikingly dissonant act featuring a leading couple, a female soloist, and a corps de ballet of both men and women. Rubies is faster and jazzier than Jewels’ other acts, and features bolder choreography designed to dazzle. Although Rubies is commonly thought to represent America, Balanchine said the boldness of the act is “simply Stravinsky’s music.”
WHAT YOU’RE LISTENING TO
Stravinsky’s 1929 composition Capriccio for Piano and Orchestra in three movements: Presto, Andante rapsodico, and Allegro capriccioso ma tempo guisto. Many have said it reflects the daring nature of American culture; however, the piece was composed years before Stravinsky moved to the United States. Although he and Balanchine worked together on many occasions, Stravinsky did not write the piece specifically for Jewels.
Diamonds
Music by Pyotr Ilych Tchaikovsky (1840-1893) Symphony No. 3 in D major, Op. 29, first movement omitted
Costume Design by Karinska (1886-1983)
Staged by Diana White
WHAT YOU’RE WATCHING
As the crown jewel of the entire ballet, Diamonds features luxurious choreography danced by a leading couple, a group of soloists, and a large corps de ballet. Diamonds is reminiscent of Imperial Russia, Balanchine’s home, and is full of opulence and glamour. Balanchine pays tribute to Marius Petipa by using his trademark grandeur and scale throughout the entire act.
WHAT YOU’RE LISTENING TO
The latter four movements of Tchaikovsky’s Symphony No. 3 in D major score Diamonds. These movements first feature two scherzos, then a slow movement for a pas de deux, and then close with a polonaise Balanchine called “superb.” Balanchine’s selection of Tchaikovsky is the perfect complement to Diamonds, as both the movement and the music throughout the act pay homage to his home in Russia.
Jewels World Premiere: April 13, 1967 by New York City Ballet at New York State Theater in New York, New York. Houston Ballet Premiere: September 23, 2010 in the Brown Theater in the Wortham Theater Center in Houston, Texas.
The performance of Jewels, a Balanchine® Ballet, is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style® and Balanchine Technique® Service Standards established and approved by the Trust.
Artist Profiles
GEORGE BALANCHINE (1904-1983)
Choreographer Born in St. Petersburg, Russia, George Balanchine is regarded as the foremost contemporary choreographer in the world of ballet. He came to the United States in late 1933, at the age of 29, accepting the invitation of the young American arts patron Lincoln Kirstein (1907-1996), whose great passions included the dream of creating a ballet company in America. At Balanchine’s behest, Kirstein was also prepared to support the formation of an American academy of ballet that would eventually rival the long-established schools of Europe. This was the School of American Ballet, founded in 1934, the first product of the Balanchine-Kirstein collaboration. Several ballet companies directed by the two were created and dissolved in the years that followed, while Balanchine found other outlets for his choreography. Eventually, with a performance on October 11, 1948, the New York City Ballet was born.
Balanchine served as its ballet master and principal choreographer from 1948 until his death in 1983. Balanchine’s more than 400 dance works include Serenade (1934), Concerto Barocco (1941), Le Palais de Cristal, later renamed Symphony in C (1947), Orpheus (1948), The Nutcracker (1954), Agon (1957), Symphony in Three Movements (1972), Stravinsky Violin Concerto (1972), Vienna Waltzes (1977), Ballo della Regina (1978), and Mozartiana (1981). His final ballet, a new version of Stravinsky’s Variations for Orchestra, was created in 1982. He also choreographed for films, operas, revues, and musicals. Among his best known dances for the stage is Slaughter on Tenth Avenue, originally created for Broadway’s On Your Toes (1936). The musical was later made into a movie. A major artistic figure of the twentieth century, Balanchine revolutionized the look of classical ballet. Taking classicism as his base, he heightened, quickened, expanded, streamlined, and even inverted the fundamentals of the 400-year-old language of academic dance. This had an inestimable influence on the growth of dance in America. Although at first his style seemed particularly suited to the energy and speed of American dancers, especially those he trained, his ballets are now performed by all the major classical ballet companies throughout the world. Copyright @ 2002 The George Balanchine Foundation. Reprinted by permission.
KARINSKA (1886-1983)
Costume Designer Born Varvara Zhmoudska in Kharov, Ukraine on October 3, 1886, Ms. Karinska began her long career as the highly acclaimed interpreter of designs by such artists as Salvador Dalí, Henri Matisse, and Marc Chagall; however, it was as principal costumer of New York City Ballet that she made her name. Ms. Karinska’s first costumes were made for nightclub performers and the Comedie-Française, but in 1932 she received a commission from ballet and opera directors Colonel de Basil and Rene Blum to make the costumes for Balanchine’s ballet Cotillon, to designs by Christian Berand. After many more commissions for theater as well as the ballet, she quickly became known as the only costumer able to translate an artist’s sketches into fabric. Ms. Karinska left Paris for New York City in 1939 where she created and designed costumes for opera, dance, and theater. Ms. Karinska also worked in Hollywood creating costumes for film. In 1948, she won an Academy Award for her designs for Ingrid Bergman in Joan of Arc. Ms. Karinska worked with George Balanchine and New York City Ballet for the duration of her career with Balanchine appointing her as principal costumer of New York City Ballet in 1962. In the same year, Ms. Karinska’s achievements were publicly recognized when she received the Capezio Dance Award for costumes “of unusual beauty for the spectator and complete delight for the dancer.” A true perfectionist, she deserved the compliment paid to her by George Balanchine: “There is Shakespeare for literature and Madame Karinska for costumes.” Ms. Karinska died in New York on October 18, 1983.
KATHERINE BURKWALL-CISCON
Pianist, Rubies Chicago native Katherine Ciscon received her bachelor’s degree in piano from Rice University’s Shepherd School of Music, and a double master’s degree in both piano performance and collaborative arts from the University of Houston Moores School of Music. She was named Principal Pianist of Houston Ballet in 1995 and has also been a vocal coach and Visiting Artist Professor of Music at the Moores School of Music. While at Houston Ballet, Ms. Ciscon has performed as soloist in the world premieres of Stanton Welch’s Nosotros, Class and The Core, Justin Peck’s Reflections (world premiere of Sufjan Stevens music), Garrett Smith’s Reveal, James Kudelka’s Passion, Ben Stevenson’s Eclipse, and Trey McIntyre’s Bound, among others. She has also been featured as soloist in many works, including Stanton Welch’s Sons de L’âme and Tu Tu, William Forsythe’s Artifact Suite, Mark Morris’s Drink to Me Only with Thine Eyes, Jerome Robbins’s The Concert (Or the Perils of Everybody), and George Balanchine’s Rubies, Ballet Imperial, and The Four Temperaments.
JONATHAN MCPHEE
Guest Conductor Jonathan McPhee is currently Music Director Emeritus for Boston Ballet after 29 years as Music Director and is Music Director for the Lexington Symphony. In addition, he is a guest conductor for New York City Ballet, Atlanta Ballet, and Sarasota Ballet. McPhee has served as conductor for The Royal Ballet, Martha Graham Dance Company, National Ballet of Canada, The Australian Ballet, Den Norske Ballet in Norway, and Royal Danish Ballet, among others. During the 2020-2021 season he was Artist in Residence at Boston University. Mr. McPhee’s works as an arranger and composer are published by Boosey & Hawkes, Inc. and Schott Music. McPhee’s edition of Stravinsky’s Rite of Spring and The Firebird are the only authorized reduced orchestrations of these works. His adaption of Wagner’s RING Cycle premiered in 2016 to rave reviews and will soon be available from Boosey & Hawkes, Inc. Mr. McPhee’s recordings of Tchaikovsky’s Sleeping Beauty, Prokofiev’s Romeo & Juliet, and Tchaikovsky’s The Nutcracker with the Boston Ballet Orchestra, are available on iTunes. His recording of Michael Gandolfi’s Caution to the Wind is available on the CRI label. McPhee conducted for the films of Martha Graham’s works telecast by DANCE IN AMERICA, including Samuel Barber’s Cave of the Heart, Gian Carlo Menotti’s Errand into the Maze, and Edgard Varese’ Integrales, Offrandes, and Octandre. He received his L.R.A.M. from the Royal Academy of Music and University of London, and a B.M. and M.M. from The Juilliard School.
Houston Ballet Orchestra
Conducted by Ermanno Florio and Jonathan McPhee
FIRST VIOLIN
Denise Tarrant*, Concertmaster Rachel Shepard, Assistant Concertmaster Linda Sanders* Sylvia Ver Meulen* Mary Reed* Oleg Sulyga* Chloe Yeseul Kim Hae-a Lee Kana Kimura Mila Neal
SECOND VIOLIN
Natalie Gaynor, Principal Trung Trinh*, Assistant Principal Elizabeth Frederick* Karen Hall Wilkson* Barbara Shreffler* Miriam Belyatsky Feld* Erica Robinson* Melissa Williams
VIOLA
Rene Salazar*, Principal Lorento Golofeev*, Assistant Principal Elizabeth Golofeev Erika Lawson Gayle Garcia-Shepard
CELLO
Barrett Sills*, Principal Erika Johnson, Assistant Principal Dave Zeger* Steven Wiggs* Steven Estes* Esra Sturman
BASS
Curry Duffey*, Principal David Connor, Assistant Principal Greg Garcia* Carla Clark*
FLUTE
Susan Kang, Principal Peggy Russell* Colleen Matheu Johnson*
PICCOLO
Colleen Matheu Johnson*
OBOE
Mayu Isom, Principal Katherine Hart
ENGLISH HORN
Grace Tice
CLARINET
Eric Chi, Principal Sean Krissman
BASS CLARINET
Molly Mayfield
BASSOON
Michael Frederick*, Principal Amanda Swain
HORN
James Wilson*, Principal Jamie Leff Sarah Cranston* Kevin McIntyre
TRUMPET
Tetsuya Lawson, Principal George Chase
TROMBONE
Thomas Hultén*, Principal Michael Warny*
BASS TROMBONE
Brian Logan
TUBA
Steven Needham
TIMPANI
Alison Chang, Principal
PERCUSSION
Christina Carroll*, Principal Karen Slotter* Robert McCullagh
HARP
Joan Eidman*, Principal
PIANO
Katherine Burkwall-Ciscon*
*Houston Ballet Orchestra members who have more than 10 years of service
Acknowledgements
General Counsel: Vinson & Elkins, LLP
Immigration Attorneys: Foster, LLP
The dancers appearing in this performance are represented by the American Guild of Musical Artists AFL-CIO Houston Ballet Orchestra members are represented by Houston Professional Musicians Association, Local 65-699, A.F. of M.
Houston Ballet is a member of Dance/USA
Touring Representation: IMG Artists
OFFICIAL HEALTH CARE PROVIDER OF HOUSTON BALLET
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Artistic Staff Profiles
STANTON WELCH AM The Harris Masterson III Artistic Director
In July 2003, Australian Stanton Welch AM assumed leadership of Houston Ballet, America’s fifth-largest classical ballet company. Since he took the helm of the company, Mr. Welch has revitalized Houston Ballet, bringing in new dancers, commissioning new works, and attracting a top-flight artistic staff. Mr. Welch has created works for such prestigious international companies as Houston Ballet, San Francisco Ballet, American Ballet Theatre, The Australian Ballet, Birmingham Royal Ballet, and the Royal Danish Ballet. Mr. Welch was born in Melbourne to Marilyn Jones OBE and Garth Welch AM, two of Australia’s most gifted dancers of the 1960s and 1970s. In 1989, he was engaged as a dancer with The Australian Ballet, where he rose to the rank of leading soloist, performing various principal roles. He has also worked with internationally acclaimed choreographers such as Jiří Kylián, Nacho Duato, and Maurice Bejart. In 1995, Mr. Welch was named resident choreographer of The Australian Ballet. For his contributions to the world of dance, he was awarded the Order of Australia (AM) in June 2015. For Houston Ballet, he has choreographed more than 20 works, including a new full-length narrative ballet Marie (2009), inspired by the life of the legendary Marie Antoinette, and spectacular stagings of Swan Lake (2006), La Bayadère (2010), Romeo and Juliet (2015), Giselle (2016), The Nutcracker (2016), and Sylvia (2019).
ERMANNO FLORIO Music Director
Ermanno Florio has impressed both audiences and critics in the major centers of Europe, North America, and Asia. The extremely versatile Mr. Florio has well distinguished himself in genres of symphonic, operatic, and balletic repertoire. Mr. Florio maintains an active conducting schedule that has included extensive engagements with the world’s major ballet companies. In 1985, Mr. Florio was appointed Principal Conductor and Music Administrator of The National Ballet of Canada by Erik Bruhn and since 1992 has held the position of Music Director of Houston Ballet. From 1998 to 2001, Mr. Florio held the position of Music Director of American Ballet Theatre. In March 2004, Mr. Florio was appointed Music Director of Het Nationale Ballet in Amsterdam and currently continues his relationship with the company as Principal Guest Conductor. Mr. Florio’s extensive discography includes DVD releases of critically acclaimed performances of The Sleeping Beauty, La Sylphide, Onegin, Cinderella, The Merry Widow, Alice, The Nutcracker, La Ronde, and Le Corsaire with ABT, which won an Emmy for Outstanding Classical Program in the Performing Arts. Mr. Florio’s DVD recording of Don Quichotte with L’Orchestre de L’Opera National de Paris also won the Cannes Classical Music Award for Best DVD in the category of Concert and Ballet Recordings. Mr. Florio’s music arrangements include scores for Patrice Bart’s Tchaikovsky, Das Flammende Hertz, and Gustaf III; Stanton Welch’s Marie and La Bayadère; and Asami Maki’s La Dame aux Camelias.
BARBARA BEARS Ballet Master
Barbara Bears, winner of the silver medal at the 1991 International Ballet Competition, was born in Ft. Lauderdale, Florida, and received her early dance training from Victoria Leigh and James Franklin. Ms. Bears joined Houston Ballet as a corps member in 1988 and that same season was selected by Sir Kenneth MacMillan to dance the lead in his ballet Gloria. Ms. Bears was promoted to Principal Dancer in 1995 and after 20 years with Houston Ballet retired in 2009. Ms. Bears’s repertoire included leading roles in Swan Lake, Giselle, The Sleeping Beauty, The Nutcracker, La Sylphide, Romeo and Juliet, The Merry Widow, Manon, Onegin, and Madame Butterfly. Houston Ballet’s diverse repertoire has afforded Ms. Bears the opportunity to perform works by Glen Tetley, George Balanchine, Sir Kenneth MacMillan, Christopher Bruce, Jiří Kylián, Anthony Tudor, Nacho Duato, Jerome Robbins, Christopher Wheeldon, William Forsythe, and Mark Morris. Ms. Bears had the honor of dancing under the directorship of both Ben Stevenson OBE and Stanton Welch AM. With choreographers at the helm, Ms. Bears created roles in over 30 different ballets. In 2001, Ms. Bears was honored to be featured on the cover of both Dance Magazine and Pointe Magazine. In 2016, Ms. Bears joined the artistic staff of Houston Ballet as ballet master.
Ian Casady was born in Fairfax, California, and received his dance training there from David Roxander, Jody White, and Georgia Ortega. In 1998, Mr. Casady studied at Houston Ballet’s Ben Stevenson Academy before joining the company as a member of the Corps de Ballet. He was promoted to Soloist in 2002, to First Soloist in 2006, and to Principal in 2007. Over the course of his career, Mr. Casady has danced a wide range of roles in works by some of the most celebrated choreographers, both past and present. Mr. Casady has been fortunate enough to have danced on some of the most historic and famous stages around the world including Lincoln Center and the Kennedy Center in New York, the Bolshoi in Moscow, the Champs Elysee in Paris, the Sydney Opera House, Sadler’s Wells in London, and theaters in Hong Kong, Spain, Germany, and Canada. Mr. Casady was a finalist at the 2002 International Ballet Competition in Jackson, Mississippi.
IAN CASADY Ballet Master
Upon his retirement after a 22-year professional career onstage, he joined the artistic staff of Houston Ballet as ballet master in 2020.
AMY FOTE Ballet Master
Amy Fote began dancing at the age of four in her hometown of Manitowoc, Wisconsin, under the direction of Jean Wolfmeyer. She continued her studies on scholarship at the National Academy of Arts, Interlochen Arts Academy, and at the Harid Conservatory, where she graduated with honors. Ms. Fote then accepted a position with the Milwaukee Ballet and rose through the ranks to become a principal dancer. During her 14 years with the company, she regularly performed at the Chautauqua Institution in New York and was subsequently invited to dance the title role in Stanton Welch’s Madame Butterfly with the Royal New Zealand Ballet. In 2005, she joined Houston Ballet, where she danced for eight seasons. In 2003, she was featured in a PBS documentary entitled Dancing Anna Karenina, focusing on her portrayal of one of the great heroines of Russian literature. She was also featured on PBS, performing Alonzo King’s Map, in a moving 9/11 performance. Following retirement, Ms. Fote accepted the position of Ballet Master with Ballet San Antonio. Upon returning to Houston, she began teaching for Houston Ballet II and Houston Ballet before joining the artistic staff in 2018.
STEVEN WOODGATE Ballet Master
Australian Steven Woodgate graduated from The Australian Ballet School in 1985. He performed with The Australian Ballet, progressing through the ranks to senior artist in 1996. In 2000, he was awarded The Churchill Fellowship, which enabled him to observe many ballet masters from around the world and study their various teaching methods. Mr. Woodgate joined the artistic staff of Houston Ballet in January 2004. Mr. Woodgate has taught both student and professional classes around the world. Mr. Woodgate reproduced Stanton Welch’s Madame Butterfly for the Singapore Dance Theater, The Royal New Zealand Ballet, The National Ballet of Canada, Pittsburgh Ballet Theatre, Atlanta Ballet, Ballet West Utah, and The Australian Ballet. In 2009, Mr. Woodgate staged Clear for Angel Corella’s company in Spain and in 2011 re-staged Ronald Hynd’s The Merry Widow for Texas Ballet Theatre, Tulsa Ballet, National Ballet of Canada, Teatro Colon Argentina and Houston Ballet. Woodgate also represented Australia in the Moscow Ballet Competition in 1989. Woodgate danced principal roles in Ashton’s La Fille Mal Gardee, Van Praggh’s Coppélia, Bejart’s Le Concours and Gaite Parisienne, works by Tudor and Balanchine, Welch, and many other choreographers.
