Concerto Returns

There is a unique connection to Canada in Kenneth MacMillan’s Concerto, enshrined in the second of the ballet’s three movements. MacMillan created the elegiac pas de deux for Canadian dancer Lynn Seymour at Deutsche Oper Ballet in 1966, having been moved by the sight of her elegant warmup, which the ballet incorporates. The pas de deux is a register of MacMillan’s long professional relationship with Seymour, for whom he created several leading roles, and his ambition for Concerto as an abstract work that delights in pure dance.

In November, The National Ballet of Canada will restage Concerto for the first time since 1990, introducing a new generation of dancers to the musicality and precision of MacMillan’s choreography. The central pas de deux is bracketed by two movements featuring a large ensemble, reflecting MacMillan’s intent to display the Corps de Ballet. At the National Ballet, Concerto’s ensemble work is an opportunity for nearly the entire company to perform together in its first full post-pandemic season.

Choreographically, Concerto animates the lightness and clarity of Dmitri Shostakovich’s Piano Concerto No. 2 in F major, op. 102. Guided by the music, the ballet’s three movements shift in mood from exuberant to ethereal, with solo piano overlaying the orchestra.

“Composed for his son Maxim’s first appearance with an orchestra on his 19th birthday, Shostakovich’s Second Piano Concerto is a departure from the more probing and complex works associated with the great 20th century Russian composer,” says Music Director and Principal Conductor David Briskin. “Some may recognize the sublime and contemplative second movement as the opening music of John Neumeier’s ballet The Seagull. The two outer movements, however, exude youthful vitality and cheeky playfulness throughout.”

No mention can be made of Concerto without a note on the minimal, brightly coloured costumes designed by Jürgen Rose, which resonate with the vibrancy and abstraction of the whole. In the absence of sets, the costumes are the only visual accoutrement in a ballet devoted to music and movement so glorious they stand alone.

Lauren Cuthbertson and Reece Clarke of The Royal Ballet in Concerto. Photo by Tristram Kenton.

In advance of The National Ballet of Canada’s November performances of Crepuscular, we asked the creator – Montréal-based dancer and choreographer Vanesa G.R. Montoya – to share her insight on the piece’s evolution, from a commission for the virtual season in 2021 to this fall’s mainstage debut.

Crepuscular has gone through several iterations with the National Ballet. What can you tell us about its evolution?

Many of the changes to Crepuscular were linked to the challenges we faced during the worst times of the pandemic. At first, I had the incredible honour to be invited to create something for the National Ballet’s virtual season. Luckily, as time went by (and after several lockdowns), restrictions eased and the company was able to hold some performances outdoors. I was presented with the opportunity to adapt the ballet to be performed live as part of Sharing the Stage in 2021.

After the summer performances I received the wonderful news that the company wanted to add Crepuscular to their repertoire and present it the following season on the mainstage. I could not be more thrilled or grateful for this opportunity!

The inspiration for Crepuscular and its ideas have remained constant, but the ballet has also been evolving, growing and maturing. Revisiting it has given me room to explore the movement on a deeper level and to focus on the details, make some improvements and even expand it a bit.

You created Crepuscular during pandemic lockdowns. Revisiting the ballet now, does it feel particular to that time, or has it taken on new meaning?

The inspiration for this piece is based on all the different emotions that can surface when we face the unknown – fear, anxiety, pain, loneliness, curiosity, excitement, love, frustration, spiritual connection, hope, inner peace, dreaming and so on. Also, the need for human connection or to isolate and seek introspection. These feelings are present for all of us at different points in our lives, but for many people they intensified during the pandemic. However, I think it can be interpreted beyond that situation.

Even though Crepuscular was created during the pandemic when public health restrictions were limiting our usual way of functioning in the studio, somehow I was able to navigate the situation so that I didn’t feel too restricted. I tried to avoid large periods of contact and close partnering with several dancers at the same time, but in the end I was able to work on several sections with lots of intricate partnering and contact while also following the safety guidelines.

What have you been doing since you first created Crepuscular? What has your return to in-person performance and choreography been like?

After creating Crepuscular, life at work picked up really fast! I am still a very active dancer myself, so I was able to return to full duties as Principal Dancer with Les Grands Ballets Canadiens, where I just restaged my biggest creation for the company so far, From the Sun to the Moon. As an artist, it feels great to be back onstage doing what we love so deeply with no reservations or limitations. It is a breath of fresh air!

Lead philanthropic support for Crepuscular is provided by The Walter Carsen New Creations Fund and The Producers’ Circle.

Celebrating Excellence and Supporting Our Artistic Vision for Generations to Come

There is much to celebrate as we enter the new performance year, and I can’t think of a more fitting way to kick off the season than by shining the spotlight on our volunteers and donors and the critical role they play in realizing the artistic aspirations of The National Ballet of Canada.

In 1990, when Jim Pitblado was the Chair of the Board of Directors, he recognized that the company needed to develop a strategy to cover approximately 10% of the budget that was not accounted for by ticket sales, fundraising and government grants. He surmised that the best possible solution was to have a strong Endowment that could provide this added support.

The National Ballet of Canada, Endowment Foundation came to be in 1996 and Jim served as the first Chair. In 2004, David Macdonald took the helm, and over the course of his 18-year tenure to date,the Endowment grew to a high of $100 million in 2021/22 before the impact of current market volatility. We owe a giant debt to David for his outstanding leadership and to all the members of the Endowment Foundation Board for their invaluable contribution to this success. This year,, the Endowment will contribute $3.845 million toward the $38.5 million operating budget of the company.

There are many ways individuals can support the Endowment, but the number one avenue is leaving a gift in their will. In 1994/95, the National Ballet formed the Ballet Horizon Circle to acknowledge individuals who had left a legacy to the company – we started with 22 members that first year. Then, in 2006, the programme was renamed the Celia Franca

Society and we had the pleasure of announcing this name change at the premiere of Veronica Tennant’s brilliant documentary film on her life – Celia Franca: Tour de Force – with Celia in attendance.

Fast forward to 2021/22, when we undertook the 70 for 70 Campaign to celebrate the company’s 70th Anniversary and to encourage more of our members and subscribers to consider including the National Ballet in their will. I would like to thank the dedicated members of the Celia Franca Society Ambassador Committee, chaired by Marcia McClung. Over the 13-month campaign, the Celia Franca Society Ambassador Committee inspired 92 individuals from across the country to arrange a gift in their estate plans, cementing a rich and vibrant future for the National Ballet. The Celia Franca Society now has 300 members!

On October 5, the success of this campaign was recognized by The Canadian Association of Gift Planners GTA Chapter with the inaugural Excellence in Legacy Giving Award. Throughout the National Ballet’s history, the company has been fortunate to have the support of visionary leaders, volunteers and philanthropists, and this award represents all their efforts and dedication.

At the same event, Donald K. Johnson received the Donor Distinction Award for his tremendous contributions not only to the National Ballet, but also the UHN Foundation, the Ivey School and the United Way among many others. We were pleased to partner on his nomination with our colleagues from these institutions.

When I started working at the National Ballet in 2005, Jim Pitblado began encouraging me to invest in building a Legacy Giving program and over the past 17 years, we have had many gifted staff members who supported the Celia Franca Society’s growth. Six years ago, I hired Richard Lefebvre as our first fulltime dedicated legacy staff member. He and his team will continue to strive to provide our supporters with opportunities to create meaningful legacies, ensuring that the National Ballet will thrive for future generations.

In the next issue of Preview, we will shine the spotlight on the 40th Anniversary of the Patrons’ Council and recognize the extraordinary volunteer leaders who have made such a significant contribution to the life of the company.

Lastly, I would like to thank each and every donor who has stood by the company over 71 years. With your support, The National Ballet of Canada is now considered to be one of the finest ballet companies in the world. Bravo!

Diana Reitberger, CFRE Director of Development

In Memoriam: Jocelyn Terell Allen

The National Ballet of Canada mourns the loss of former dancer Jocelyn Terell Allen, who died peacefully on September 11, 2022 at the age of 83. Terell was one of Betty Oliphant’s first students when Oliphant had a studio on Sherbourne Street in Toronto. She joined the National ballet in 1956 and became Principal Dancer in 1963, dancing roles such as Odette in Celia Franca’s Swan Lake and Queen of the Wilis in Giselle.

After a back injury ended her performing career in 1964, she studied English Literature at York University and the University of Toronto. Terell was a major donor to The National Ballet of Canada and served on the Boards of Canada’s National Ballet School, The Dancer Transition Resource Centre and Peggy Baker Dance Projects. Her book, Early Days, Early Dancers (2020), documents the first decade of the National Ballet with a focus on the dancers of the 1950s.

Medcan Focuses on Dancer Wellness

The Dancer Wellness Programme, led by Director Marla Pichler, relies on the specialties of 16 consulting physicians and in-house therapists to maintain our artists’ health and wellness. Medcan has been a long-time partner of The National Ballet of Canada, providing services that support a comprehensive wellness programme. We are grateful for their continued dedication to the health of our dancers.

What makes Medcan a good fit for The National Ballet of Canada?

We share similar values and we both see the importance of keeping physically healthy to be able to perform optimally. While the National Ballet works tirelessly to ensure that their dancers are in the best possible shape to perform, Medcan's offerings ensure that individuals are in optimal health in their everyday lives. We are proud that many of the dancers within the National Ballet trust in us for their health and wellness needs and hope to continue to help them achieve optimal health for many years to come.

What do you hope your sponsorship will achieve?

Medcan's sponsorship is a great way to reach likeminded individuals who may benefit from our products and services. Those involved with the National Ballet tend to have a similar interest regarding health and wellness and we hope to be able to inform others about what we have to offer. In addition, we want to showcase our love for ballet and our commitment towards the dancers.