Presenting Sponsor 2020/21 Season
Looking Ahead to Brighter Days I hope you and your family are staying safe and healthy in these challenging times. All of us at The National Ballet of Canada are looking ahead to brighter days when we are out of isolation and can return to the stage. I believe the beauty of ballet will be a balm we all need when we are on the other side of this unprecedented pandemic. I hope will join us in looking to the future and become a subscriber for the 2020/21 season.
Purchase with Confidence We know these are uncertain times and we are monitoring the COVID-19 situation closely. As recently announced by Public Health, Ontario is on a good path to flattening the curve and we are confident we will return to the stage in November. However, if things change in this fluid environment, we guarantee as a subscriber you will receive your choice of a full refund, an exchange for a future National Ballet performance or a charitable tax receipt for donated tickets.
Karen Kain, C.C. Artistic Director Karen Kain. Photo by Karolina Kuras.
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presents
Angels’ Atlas with Serenade & The Four Seasons November 11 – 15, 2020 The National Ballet of Canada opens the 2020/21 season with a moving programme featuring the return of Crystal Pite’s acclaimed new work Angels’ Atlas, created for the company in March 2020. With original music by Owen Belton and choral pieces by Pyotr Ilyich Tchaikovsky and Morten Lauridsen, Angels’ Atlas sets the dancers against a shifting, ethereal wall of light to evoke the impermanence and vitality of the human experience. George Balanchine created Serenade in 1934 for students at the School of American Ballet. It was his first original ballet in the US and is set to Tchaikovsky’s mournful Serenade for Strings
in C, Op.48. Today, Serenade is an iconic Balanchine work, especially for its unforgettable opening scene – an ensemble of women standing together, heads turned, one arm raised to the sky. Set to Antonio Vivaldi’s much loved score, James Kudelka’s The Four Seasons follows the anonymous figure, A Man, as he moves through the seasons of his life, from the exuberance of Spring through Summer’s passion, Autumn’s maturity and the quiet settling of Winter. Created for the National Ballet in 1997, The Four Seasons is a masterwork of contemporary ballet from one of Canada’s finest choreographers.
Angels’ Atlas
Serenade
The Four Seasons
Choreography: Crystal Pite Original Music: Owen Belton Additional Music: Pyotr Ilyich Tchaikovsky and Morten Lauridsen Reflective Light Backdrop Concept: Jay Gower Taylor Reflective Light Backdrop Design: Jay Gower Taylor and Tom Visser Lighting Design: Tom Visser Costume Design: Nancy Bryant Assistant to the Choreographer: Spencer Dickhaus
Choreography: George Balanchine Staged by: Joysanne Sidimus Music: Pyotr Ilyich Tchaikovsky Costume Design: Barbara Karinska Lighting Design: Ronald Bates
Choreography: James Kudelka, O.C. Music: Antonio Vivaldi Costume Design: TRAC COSTUME (Carmen Alie and Denis Lavoie) Lighting Design: David Finn Projections and Scenic Effects: Chris Wise
Produced and commissioned by The National Ballet of Canada. A co-production of The National Ballet of Canada and Ballett Zürich. Philanthropic support for Angels’ Atlas is generously provided by An Anonymous Donor, Rosamond Ivey, Ira Gluskin & Maxine Granovsky Gluskin, The Producers’ Circle, The Volunteer Committee of The National Ballet of Canada and The Gail Hutchison Fund. The Four Seasons is a gift from The Volunteer Committee, The National Ballet of Canada. Hannah Galway in Angels’ Atlas. Photo by Karolina Kuras.
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The Sleeping Beauty Rudolf Nureyev
November 19 – 29, 2020 Few ballets in the classical repertoire rival the pageantry and technical purity of The Sleeping Beauty, one of Marius Petipa’s three major collaborations with Pyotr Ilyich Tchaikovsky. Rudolf Nureyev’s adaptation for The National Ballet of Canada premiered in 1972, accelerating the young company’s artistic growth and bolstering its international reputation for excellence. Showy and opulent, The Sleeping Beauty offers dazzling variations, storybook characters and an expanded role for Prince Florimund, once performed by Nureyev himself. The story derives from Charles Perrault’s fairy tale of 1697, La Belle au bois dormant, and tells of the young Princess Aurora cursed to sleep for 100 years until
her true love awakens her with a kiss. Much of the action is symbolic, with forces of good and light prevailing over those of evil and dark. As indicated by her name, Aurora heralds a new dawn for a kingdom under threat by the likes of Carabosse and her evil curse. The Sleeping Beauty endures mainly for its intricate score and bravura dancing, which it has in abundance. From the fairy variations of the Prologue to Aurora’s famous Rose Adagio and the twinkling Bluebird pas de deux, here is some of ballet’s most exacting and memorable choreography. With its singular blend of artistry and spectacle, The Sleeping Beauty is a ballet lover’s delight.
Produced, originally staged and with additional choreography: Rudolf Nureyev, after Marius Petipa Staged by: Karen Kain, C.C., LL. D., D.Litt., O Ont. Music: Pyotr Ilyich Tchaikovsky Set and Costume Design: Nicholas Georgiadis Lighting Design: David Hersey
The Sleeping Beauty is made possible by generous contributions from Margaret Fleck & Jim Fleck, C.C., The Catherine and Maxwell Meighen Foundation, Sandra Pitblado & Jim Pitblado, C.M., Gretchen Ross and Nancy Pencer & Michael Benjamin. Harrison James and Heather Ogden with Artists of the Ballet. Photo by Teresa Wood.
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The Nutcracker James Kudelka
December 10 – 31, 2020 The Nutcracker celebrates its 25th anniversary! A magical part of the holiday season since 1995, The Nutcracker is choreographed by James Kudelka, designed by Santo Loquasto with lighting by Jennifer Tipton. The glorious sets and costumes provide an ideal framework for a journey steeped in wonder, play and the abundance of dreams and reflect the sumptuousness of Tchaikovsky’s score. The adventure begins in rural 19th century Russia, where quarrelling siblings Misha and Marie attend a holiday party in their decorated barn, doors flung open to the snow. Among the guests are Baba, the children’s nurse, the stable boy Peter and the mysterious Uncle Nikolai, who brings gifts both wonderful and strange. A dancing horse, bears (one on rollerblades) and a host of furry creatures
add to the festivities and unite the guests in spirited dance. But, for Marie, the most enchanting gift of all is the Nutcracker doll, which she brings with her to the nursery that night, where she and Misha – still arguing – finally fall asleep. What follows is a beautiful excursion into the imagination, with the Nutcracker coming to life beneath an enormous Christmas tree to battle the Mouse Tsar to guide the children through a glittering land of snow to the palace of the Sugar Plum Fairy. There, the children are entertained by joyous dancing from around the world and partake of endless delicacies and delights. When the journey comes to an end and the dancers recede from view, Misha and Marie discover a new understanding of themselves and their friendship.
Choreography and Libretto: James Kudelka, O.C. Music: Pyotr Ilyich Tchaikovsky Set and Costume Design: Santo Loquasto Lighting Design: Jennifer Tipton
The Nutcracker is made possible by generous financial support from production underwriters Sandra Pitblado & Jim Pitblado, C.M., Lawrence and Ann Heisey and an anonymous friend of the National Ballet. Jillian Vanstone. Photo by Karolina Kuras.
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A Streetcar Named Desire A Ballet by John Neumeier
March 3 – 7, 2021 Tennessee Williams received the Pulitzer Prize in 1948 for his gritty Broadway play, A Streetcar Named Desire. Dramatic, uneasy and simmering with violence, the story follows the demise of Blanche DuBois, a southern belle transplanted into a hostile, impoverished landscape she cannot accept. The rich setting, characterization and themes have made it a favourite work for adaptation, most famously in the 1951 film version directed by Elia Kazan, starring Vivien Leigh and Marlon Brando. John Neumeier, the brilliant Director and Chief Choreographer of The Hamburg Ballet, adapted A Streetcar Named Desire for ballet in 1983, forgoing chronology to delve deep inside the mind of the play’s tortured heroine. Neumeier starts where the play ends, with Blanche alone and staring blankly from her bed in an asylum.
Gradually, the scene gives way to remembered events leading up to this tragic conclusion, from the loss of Blanche’s family plantation, Belle Reve, to her husband’s suicide and her subsequent retreat to her sister Stella’s dingy apartment in New Orleans, where Blanche is brutalized by her brother-in-law Stanley Kowalski. Every detail in Neumeier’s stage design reflects the precariousness of Blanche’s experience. The enormous columns and shutters at Belle Reve, once stately, crumble before our eyes, signalling the loss of Blanche’s aristocratic past. In New Orleans, a bed – centrally placed – carries the constant threat of violation. The score changes dramatically between the ballet’s two acts, with the first given to Sergei Prokofiev’s reflective Visions Fugitives and the second to the postmodern music of Alfred Schnittke, a brash, uneasy soundscape that mirrors Blanche’s deteriorating psyche.
Choreography, Costume, Set and Lighting Design: John Neumeier Music: Sergei Prokofiev and Alfred Schnittke Contains mature content. A Streetcar Named Desire is made possible by the generous support of The Catherine and Maxwell Meighen Foundation and The Producers’ Circle. Sonia Rodriguez and Guillaume Côté. Photo by Karolina Kuras.
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Cinderella James Kudelka
March 11 – 20, 2021 James Kudelka’s Cinderella balances tradition with modernity in a unique rendering of the story that discards the rags-to-riches scenario to put Cinderella on equal footing with Prince Charming, confined by their respective circumstances and in search of a simpler life. Unmoved by material wealth, they seek and are rewarded by a true partnership that brings them in harmony with nature, confounding their hilarious opponents. Kudelka created Cinderella for The National Ballet of Canada in 2004, combining colourful characters with gorgeous, Art Deco-inspired designs in what is now a signature work. All the best loved elements from the story remain, from Cinderella’s blundering stepsisters to her benevolent Fairy Godmother, glass slippers and the carriage that whisks her away to the Prince’s ball and returns to a pumpkin at midnight.
Choreography: James Kudelka, O.C. Music: Sergei Prokofiev Set, Costume and Properties Design: David Boechler Lighting Design: Christopher Dennis
Cinderella is a gift from The Volunteer Committee, The National Ballet of Canada. Emma Hawes. Photo by Aleksandar Antonijevic.
Choreographically, Cinderella is sublime, with intricate duets and challenging solos that make full use of Sergei Prokofiev’s score. Kudelka even incorporates the frequently omitted travelling scene of Act III, in which the Prince searches the world for the owner of the glass slipper, taking this moment to showcase shoes and costumes from around the globe. Tender, funny and beautifully conceived, Kudelka’s Cinderella is an unrivaled adaptation of the classic fairy tale.
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Frame by Frame Robert Lepage and Guillaume Côté
March 24 – 28, 2021 With the creation of Frame by Frame in 2018, The National Ballet of Canada became the first classical ballet company to collaborate with the inspired Canadian playwright, director and actor, Robert Lepage. Frame by Frame is an inventive multidisciplinary work that pays homage to a pioneering figure in film, the Scottish Canadian animator Norman McLaren, whose experiments with pixilation, animated objects, dance, hand-drawn sound and other innovations influenced filmmakers worldwide. Created with choreographer Guillaume Côté, Frame by Frame is itself a work of striking originality and beauty and an exciting partnership between two of Canada’s most esteemed artists.
McLaren set new standards for animation during his illustrious career with The National Film Board of Canada and his playful and painterly films – including several dance shorts – were a source of inspiration for Lepage and Côté. Frame by Frame opens a window into McLaren’s creative and personal worlds in vignettes featuring key moments from his life, from his relationship with fellow National Film Board member Guy Glover to the creation of his Oscar-winning film, Neighbours.
Directed by: Robert Lepage Choreography: Guillaume Côté Creative Direction and Design: Steve Blanchet Music and Sound Design: Antoine Bédard Set Design: Christian Fontaine Costume Design: Michael Gianfrancesco
Lighting Design: Étienne Boucher Image Projection Concept Design: Laurie-Shawn Borzovoy Video Design: Thomas Payette / HUB Studio Props Design: Claudia Gendreau Assistant Director: Adèle Saint-Amand Assistant to the Choreographer: Anne Mueller
In this moving celebration of the creative spirit, footage from McLaren’s films shares space with mesmerizing recreations from the dancers, culminating with a sublime reinvention of Pas de deux, one of McLaren’s most beloved films.
A collaboration between The National Ballet of Canada, Ex Machina and the National Film Board of Canada. Co-Produced by Sadler’s Wells, London. Lead philanthropic support for Frame by Frame is generously provided by The Walter Carsen New Creations Fund, with additional support from First Plazas Inc. in memory of Avie Bennett, The Catherine and Maxwell Meighen Foundation, Rosamond Ivey, The Hal Jackman Foundation and The Producers’ Circle. Skylar Campbell. Photo by Karolina Kuras.
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presents
Swan Lake Directed and Staged by Karen Kain June 11 – 27, 2021 Swan Lake is the pre-eminent classical ballet, admired the world over for its lyricism, musicality and luminous choreography and for a love story that is both symbolic and intimate. One of the three great Tchaikovsky-Petipa collaborations, Swan Lake is performed by top ballet companies around the world and is renowned for its technical and artistic brilliance. Artistic Director Karen Kain adds to her long list of achievements with the world premiere of this gorgeous new staging of Swan Lake. Creation began during Kain’s 50th anniversary season with The National Ballet of Canada in 2019 and will now mark her retirement from the company in June 2021. Kain’s adaptation rediscovers the
Directed and Staged by: Karen Kain, C.C., LL.D., D.Litt., O.Ont., after Erik Bruhn, Lev Ivanov and Marius Petipa Additional choreography and staging by: Christopher Stowell and Robert Binet Music: Pyotr Ilyich Tchaikovsky Set, Property and Costume Design: Gabriela Týlešová
romance and psychological power of Swan Lake as Prince Siegfried and the white swan Odette fall in love in the shadow of Rothbart’s curse. With fantastical sets and costumes by celebrated designer Gabriela Týlešová and evocative lighting by Bonnie Beecher, the production unfolds in a timeless, fairy tale space full of beauty and menace. Prince Siegfried moves from the stylized palace gardens associated with his rank to a quiet lakeside where Odette has been condemned by Rothbart to exist as a swan by day and a woman by night, until a declaration of true love breaks the spell. Prince Siegfried prepares to make this declaration at an extravagant masquerade only to be deceived into choosing a mirage, the black swan Odile.
Lighting Design: Bonnie Beecher Projection Design: Sean Nieuwenhuis Design Associate, Wardrobe: Marjory Fielding Design Assistant, Wardrobe: Allie Marshall Design Associate, Set and Properties: Joshua Quinlan
Produced and commissioned by The National Ballet of Canada. Lead philanthropic support for Swan Lake is provided by The Walter Carsen New Creations Fund, with generous underwriting from Richard M. Ivey, C.C., an anonymous friend of the National Ballet, Susan Scace & Arthur Scace, C.M., Q.C., The Catherine and Maxwell Meighen Foundation, Gail Drummond & Bob Dorrance, Nancy Pencer, Sandra Pitblado & Jim Pitblado, C.M., The Lawrence Schafer Foundation, Gretchen Ross & Donald Ross, O.C., Anne-Marie Canning, Anna McCowan Johnson & Donald K. Johnson, O.C., Tim & Frances Price, The Volunteer Committee of The National Ballet of Canada, Kevin Garland & Roger Garland, C.M. and Aaron & Heather Regent. Additional support provided by The Producers’ Circle. The Producers’ Circle: Gail & Mark Appel, John & Claudine Bailey, Inger Bartlett & Marshal Stearns, Laura Dinner & Richard Rooney, Gail Drummond & Bob Dorrance, The Thor E. and Nicole Eaton Family Charitable Foundation, Sandra Faire & Ivan Fecan, Kevin Garland & Roger Garland, C.M., Ira Gluskin & Maxine Granovsky Gluskin, The William & Nona Heaslip Foundation, Anna McCowan Johnson & Donald K. Johnson, O.C., Judy Korthals & Peter Irwin, Mona & Harvey Levenstein, Jerry & Joan Lozinski, The Honourable Margaret Norrie McCain, C.C., Julie Medland, Sandra Pitblado & Jim Pitblado, C.M., The Harry & Lillian Seymour Family Foundation, Gerald Sheff & Shanitha Kachan and The Jack Weinbaum Family Foundation. The National Ballet also acknowledges support for Swan Lake provided by Judi Conacher, Sherry and Edward Drew and Julie Medland. Hannah Fischer. Photo by Karolina Kuras.
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Clare Peterson. Photo by Karolina Kuras. 16
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By Phone 416 346 9595 All subscription prices include HST and service charges. No additional charges will be added. All dates, programmes, casting and pricing are subject to change without advance notice. The National Ballet of Canada respects your privacy. We protect your personal information and adhere to all legislative requirements. To view the National Ballet’s privacy policy visit national.ballet.ca/privacy-policy. A child is considered 15 and under and must be accompanied by a paid adult subscriber. Please note that ballet performances are not suitable for most children under five. Babes in arms will not be admitted. Student subscribers must present valid identification and seniors must be 65 or older and provide identification for proof of age. Tina Pereira. Photo by Karolina Kuras. 27
20/21 Fall & Holiday Seasons
Nov 2020
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20/21 Winter & Summer Seasons
Mar 2021
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Frame by Frame 7:30 pm
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We look forward to brighter times ahead and the ability to create, perform and share the best of ballet in person. With your support, we can come through this moment in time and move forward together. Knowing you value The National Ballet of Canada, we invite you to make a special gift at this critical time, if you are able. An anonymous donor is offering to match all donations, dollar for dollar, up to $150,000 if made before June 15, 2020. Naoya Ebe and Jordana Daumec. Photo by Karolina Kuras.
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Naoya Ebe and Jordana Daumec. Photo by Karolina Kuras. 30
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My Passion The National Ballet of Canada is one of the best ballet companies in the world. You know that when you go, you will see the best of ballet: incredible productions, choreography and dancers. When I attend a performance, it is like meditation to me, a time to tune out the rest of the world and focus on the wonder I’m watching. I also feel very proud of the dancers and the company. As I engage more, I wish to contribute as well, knowing that the business model requires philanthropy and to ensure that we nurture and elevate the arts in our country. – Rags Davloor
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Thank You! Presenting Sponsor Angels’ Atlas with Serenade & The Four Seasons
The National Ballet of Canada gratefully acknowledges the generous contribution of our partners who support Canadian culture and continued excellence in dance.
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Hosting Partner Turnout Friday Night Theatre Experience
Official Floral Sponsor
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Official Health and Wellness Provider
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The National Ballet of Canada gratefully acknowledges the support of the following:
We acknowledge the financial support of the Government of Canada Nous reconnaissons l’appui financier du gouvernement du Canada
We acknowledge the support of the Canada Council for the Arts Nous remercions le Conseil des Arts du Canada de son soutien
The Government of Ontario through the Honourable Lisa MacLeod, Minister of Tourism, Culture and Sport
The Volunteer Committee, The National Ballet of Canada Produced with the support of the City of Toronto through Toronto Arts Council
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Join Us Virtually
@nationalballet Clockwise from left: Naoya Ebe, Jordana Daumec and Siphesihle November. Photo by Karolina Kuras. Sonia Rodriguez teaching a Gratitude Class. Christopher Gerty and Chelsy Meiss in The Four Seasons. Photo by Karolina Kuras. Heather Ogden and Guillaume CĂ´tĂŠ in Bach to the Barre. Respiratory Therapists at Toronto General Hospital. Hannah Galway and her father Tim. Ben Rudisin and Harrison James at home. 34
Angels’ Atlas with Serenade & The Four Seasons The Sleeping Beauty 25 YEARS OF MAGIC
The Nutcracker A Streetcar Named Desire Cinderella Frame by Frame WORLD PREMIERE
Swan Lake
Mailing Address The Walter Carsen Centre for The National Ballet of Canada 470 Queens Quay West Toronto, Ontario M5V 3K4 Canada Audience and Donor Services 416 345 9595 national.ballet.ca Cover: Jordana Daumec, Naoya Ebe, Siphesihle November, Sonia Rodriguez, Jenna Savella and Brendan Saye. Photos by Karolina Kuras.