Preview | Winter 2023 - Issue 59

Hope

Muir

Introduces

David Dawson & Rena Butler

Hope Muir. Photo by Karolina Kuras.

A Winter Welcome!

The March programme builds on our amazing start to the 2022/23 season, from the ground-breaking world premiere of Wayne McGregor’s MADDADDAM to the incredible sold-out run of The Nutcracker and our sold-out Romeo and Juliet tour to the National Arts Centre in Ottawa. It’s been an honour meeting so many of you over the past few months and to experience firsthand the strength of your commitment to The National Ballet of Canada.

The momentum continues this winter with challenging work by four distinct and celebrated choreographers: David Dawson, Rena Butler, George Balanchine and James Kudelka. I’m delighted to introduce both David and Rena to the National Ballet repertoire this season, dance makers I respect greatly and hope to build a strong relationship with. The mixed programme will share the expansive, musical language of David’s Anima Animus alongside a world premiere by Rena created in honour of American composer John Adams.

Our Toronto performances include two accomplished works from our repertoire, George Balanchine’s celebratory Symphony in C and James Kudelka’s Cinderella, an exemplar of innovative storytelling. We are also preparing for our tour to New York City Center presenting Canadian chorographer Crystal Pite’s Angels’ Atlas for the first time, alongside Anima Animus and Concerto. I am proud for the National Ballet to have received this invitation, reigniting our international touring profile.

Finally, we are thrilled to be hosting The International Competition for The Erik Bruhn Prize for the first time since 2019. I hope you’ll join me in cheering for the “home team” – Second Soloist Noah Parets, Corps de Ballet member Emerson Dayton and Canadian choreographer Ethan Colangelo – as they represent the National Ballet in this respected showcase for young talent.

These events are occurring at a very special time for our Patrons’ Council donors, who are celebrating their 40th anniversary this year. It’s an honour to mark this occasion with you and to acknowledge the incredible contribution you have made to the current and future excellence of this company.

Thank you to all our donors for making the Winter Season one to remember.

With gratitude, Hope Muir

Joan and Jerry Lozinski Artistic Director

Director of Development: Diana Reitberger, CFRE

Publisher: John Hart

Preview Editor: Caroline Dickie

Contributor: Rhea Daniels

Art & Design: Klara Vanzella Yang

We would love to hear from you. Please send your comments to: preview@national.ballet.ca

Cover: Wei Wang, Maria Kochetkova and Henry Sidford in Anima Animus

Erik

Photo by

Tomasson, courtesy of San Francisco Ballet.

Celebrating the 40th Anniversary of Patrons' Council

The Patrons’ Council is a community of passionate individuals who contribute annually to The National Ballet of Canada and develop close associations with the artists, staff and their fellow donors.

The founding of the Patrons' Council was spearheaded by André Galipeault in the early 1980s, beginning with 39 members. Today, there are roughly 400 donors, with a 2022/23 fundraising goal of $1.55 million. Since inception, the Patrons’ Council has raised $41 million in support of the company.

On November 8, 2022, the National Ballet marked the 40th anniversary of Patrons’ Council with a special dinner for past and present members of the Patrons’ Council Committee and Chairs. The event saw a wonderful mix of new and longstanding members, heralding a bright future for this significant donor group. We honoured the former Chairs and presented them with a special National Ballet pin designed by Vivienne Jones to commemorate the 40th anniversary.

The National Ballet is forever grateful to the Patrons' Council Committee Chairs and members, past and present, who have contributed to the success of the company.

Patrons' Council Committee Chairs

1983 – 1993 André J. Galipeault

1993 – 1994 Allen Marple

1994 – 1998 Julie Medland

1998 – 2003 Jeanie Davis

2003 – 2007 Judi Conacher

2007 – 2008 Judi Conacher & Missy Crosbie

2008 – 2009 Veronica Zufelt

2009 – 2011 Ann Hogarth

2011 – 2014 Krista Kerr

2014 – 2018 Jane Darville

2018 - 2022 Geneviève McKillop

2022 - present LJ Nagel

Ann Hogarth, Judi Conacher, Suzanne Galipeault, Jeanie Davis, Jane Darville, Julie Medland and Geneviève McKillop at the 40th Anniversary Dinner. Photo by Bruce Zinger.

The Creation and Dedication of The Patrons' Council

As I reflect on the 40th Anniversary of the Patrons’ Council, I am in awe of what has been accomplished by this group of devoted volunteers and their special role in the National Ballet’s story.

American Industrialist Henry Ford once said that “coming together is a beginning, staying together is progress and working together is success.” This really describes the National Ballet’s Patrons’ Council and dedicated volunteers who came together in the early 1980s to establish this donor group to support the mission of the company.

Initially, eight members of the Board of Directors came together to work on a new initiative to raise funds from individuals at the $1,000 level. In 1981/82 there were 39 individuals at this “Patron” level. By 1983/84, this donor group became officially known as the Patrons’ Council with 94 members. Through the hard work of the Committee, membership exploded and in 1985/86 there were 311 members – what an accomplishment!

The Patrons’ Council’s aim was to unite volunteers and donors who shared a love of the National Ballet and its dancers. The Patrons’ Council Committee was comprised of volunteers who served as ambassadors for the programme

and the company, reaching out to other donors to solicit support, share information and invite to events. Through events such as pre-performance dinners, season opening parties and opportunities to hear directly from the Artistic Director, members of the Patrons’ Council learned more about the company and became invested in its success.

There are so many people who have been instrumental in the progress and success of the Patrons’ Council over 40 years, it’s hard to mention only a few. But I do feel it is important to highlight some of the earliest and longest-standing champions. André Galipeault was a driving force for the creation of the Patrons’ Council and he chaired the Committee for the first ten years with incredible commitment and success. Julie Medland, the first female Chair, has continued her deep involvement with the company to this day. Founding member Jeanie Davis has been a stalwart volunteer and donor for over four decades and served as the Committee’s fourth Chair. Founding member Richard Dodds, with whom I had the pleasure of speaking with on the eve of his 97th birthday, shared with me his memories of the early years, at the heart of which was the genuine camaraderie of the group. And John

Theo was a volunteer extraordinaire, introducing many new donors to the Patrons’ Council and formulating our successful “The Agony & The Ecstasy” event.

We are eminently grateful for the contributions of each volunteer and member over the past 40 years, those who helped grow and evolve the programme, those who saw us through economic challenges and everyone whose steady commitment was a true gift to the National Ballet.

Thank you all for your generosity, progress and success.

– Diana Reitberger, CFRE Director of Development

“Having been involved with the Patrons’ Council since its inception, and a patron for over 40 years, I have particularly enjoyed a closer connection to the dancers, fellow patrons and staff. Through various events and deeper insights, I have developed a wonderful relationship with the company and this greater knowledge about ballet styles and techniques has further fuelled my love of dance. All of this makes my gift more meaningful.”

– Julie Medland

Moments and Memories

Special events have defined the Patrons’ Council since its inception, offering donors invaluable opportunities to engage with the company, witness the impact of their giving and socialize with other donors. In 2009, for example, Patrons’ Council Committee member John Theo conceived The Agony & The Ecstasy, a panel discussion with dancers at different stages in their careers, hosted by former Principal Dancer Veronica Tennant. Over the years, other signature events have included Season Opening and Closing Parties, preperformance ballet dinners and, in the early days, summer visits to see the company perform at Artpark in Lewiston, New York.

In 2001, the Patrons’ Council Committee enhanced its support for the company with the Patron Award of Merit, given annually to two promising dancers from the Corps de Ballet, selected by artistic staff. Committee members make a generous donation in the winners’ names to The National Ballet of Canada, Endowment Foundation, ensuring continued support for young artists.

“I have attended performances since The National Ballet of Canada appeared at Eaton Auditorium, even when I lived in London and Cambridge, Ontario for 18 years. The friends I have made with the other patrons, the rehearsals, events and tours have brought me such joy. I never worry if I attend the ballet by myself. I always meet another patron or a friendly staff member.”

– Judi Conacher

André and Suzanne Galipeault with Gizella Witkowsky. Photo by BDS Studios. Richard Dodds and Karen Kain. Photo by Andrew Oxenham. The 2016/2017 Patrons' Council Committee: Jordan Applebaum, Linda O'Leary, Elana Metter, Lenore Walters, Avril Higgins, Ann Hogarth, Julie Medland, Jeanie Davis, Judi Conacher, Vanessa Harwood, Geneviève McKillop and Jane Darville. Photo by Christina Gapic.

“I joined the Patrons’ Council in 2015 after watching a studio rehearsal that was a part of World Ballet Day. I was so moved and inspired to support the company that I sent my donation right after the broadcast!”

– Valerie Lockerbie

“I’ve been devoted to The National Ballet of Canada for over 40 years as an audience member, volunteer and donor. The Patrons’ Council brings me closer to the company I love so much. It is such a wonderful group with whom to share the joy of the National Ballet.”

– Karen Sparks

“Forty years ago, many of us in Patrons’ Council were already involved in support of The National Ballet of Canada either as Board members or on the Volunteer Committee. As the Patrons’ Council grew it became a great deal more diverse, attracting those who had not previously been involved but who were interested in supporting the company. Since inception, the Patrons’ Council has always been an open, friendly and welcoming group, which all of us have very much enjoyed.”

– Nina and Michael Overbury

Reid Anderson with André Galipeault and members of the Patrons' Council. Gerald and Geraldine Heffernan. Lyman Henderson and Veronica Tennant. All photos by BDS Studios.

Introducing David Dawson and Rena Butler

The Winter Mixed Programme introduces two innovative creators to the National Ballet repertoire, David Dawson and Rena Butler. Dawson is a leading dance maker internationally and the first British choreographer to create a new work for The Mariinsky Ballet, Reverence, for which he received the Golden Mask Award, Russia’s highest theatre prize. Butler is a Princess Grace Awardwinning Choreographer and was recently dubbed “The Epitome of Contemporary Cool” in a Dance Magazine cover story. Presenting their work on a single programme with George Balanchine’s Symphony in C is certain to convey the company’s versatility.

“David is someone I respect immensely and have collaborated with many times,” says Artistic Director Hope Muir. “I’ve seen how his work creates space for artistic development and I wanted to provide that opportunity to our dancers. When I witnessed the world premiere of Anima Animus I was so invigorated by the experience – by the music and the expansiveness of the choreographic language. It’s an ideal introduction to what I envision will be a longstanding relationship with David.”

Created for San Francisco Ballet in 2018, Dawson’s Anima Animus is a ballet of contrasts, most meaningful among them Carl Jung’s concept of anima, the female aspect of the male psyche, and animus, the male aspect of the female psyche.

“Within classical ballet there have been traditions that I wanted to question and try to evolve,” says Dawson. “I wanted to create choreography that was less gender biased. The women dance men’s choreography, and the men dance female choreography. In the first and third movements of the ballet,

the choreographic language is shared without the limitations of the traditional rules while also creating a counterpoint to this during the second movement, with the focus on the art of the pas de deux or partnering, and how far in the opposite direction we could go.”

The company premiere of Anima Animus is joined by a world premiere by Rena Butler, set to the music of American composer John Adams. The collaboration deepens an existing relationship between Butler and Hope Muir, who commissioned original work from Butler at her previous company.

David Dawson. Photo by by Oliver Look Arduino Martina in Anima Animus. Photo by Yan Revazov, courtesy of Teatro alla Scala.

“Rena has such a contagious curiosity in all disciplines,” says Muir. “She is a creative force in the studio and the world is taking notice, which makes the timing of this premiere really exciting. When I think about expanding the National Ballet repertoire with new voices, she is forefront in my mind.”

Butler’s work is set to Adams’ 1994 composition for the Kronos Quartet, John’s Book of Alleged Dances, featuring strings and prerecorded tape in a collection of “dances,” which can be played in any order. The title of Butler's piece is Alleged Dances

“My piece is a dialogue with John’s score that explores a series of personal recollections of events and the repeated action of attempting to control, maintain, restructure and dismantle them,” says Butler. “Abstracted through a game of hide and seek, this ballet sources various components of veracity as the viewer examines how light and shadow, physicality, text and sequence of sound are obscured to deconstruct and underscore one’s own sense of self in a maelstrom of memory.”

Born in Massachusetts, Adams is renowned for his minimalist aesthetic, and he often engages with recent historical events. In 2003, he was awarded the Pulitzer Prize for On the Transmigration of Souls, a memorial piece for 9/11.

–Lead philanthropic support for Alleged Dances is provided by an Anonymous Donor, with 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, 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 Lozinski, O.C. & Joan Lozinski, O.C., The Honourable Margaret Norrie McCain, C.C., Julie Medland, Sandra Pitblado, C.M. & Jim Pitblado, C.M., The Harry & Lillian Seymour Family Foundation and The Jack Weinbaum Family Foundation.

Symphony in C is a gift from the Volunteer Committee, The National Ballet of Canada.

Rena Butler. Photo by Jacob Jonas.

Photo by Lindsay Linton.

“Adams has influenced the trajectory of contemporary classical composition with work that is expressive and profoundly human, such as his renowned piece On the Transmigration of Souls, a memorial for the attacks of 9/11.”

– Rena Butler

Dancer Q&A: Tina Pereira

The Erik Bruhn Competition returns this season. You won in the women’s category in 2007. What advice would you give to this year's competitors?

My biggest piece of advice is to forget that it’s a competition and to focus on the special opportunity to grow individually and with your partner in every rehearsal. My goal was to feel proud of the work that I did on the day of the competition and when the day came, winning wasn’t even what was important to me. Although it was pretty amazing!

Born: Port of Spain, Trinidad

Trained: Canada’s National Ballet School

Joined: 2001

Principal Dancer Since: 2021

You are making your debut as Cinderella this winter. How would you characterize the role and what are you doing to prepare?

I think what I am most excited about with performing Cinderella is embodying her character. I love that she is a bit clumsy but also so glamorous and there is so much story to tell!

You were promoted to Principal Dancer recently, in 2021. How are the demands of your work different now to what they were as a First Soloist?

Often, it’s more challenging physically and since I have been a Principal Dancer post-pandemic, the responsibility also involves being on call quite a lot during shows in case someone is sick. As a result, physical therapy and recovery can sometimes be hard to schedule.

You have been sponsored for many years by Margaret McCain through Dancers First. What has her support meant to you over the years?

It has meant absolutely everything to me! Margaret has sponsored me since I was at Canada’s National Ballet School. She is an incredible human and I’ve been so lucky to know her and her family over all these years.

Tina Pereira is sponsored through Dancers First by The Honourable Margaret Norrie McCain, C.C. Tina Pereira. Photos by Karolina Kuras.

John and Claudine Bailey: A Proud Tradition of Support for The Erik Bruhn Prize

The International Competition for The Erik Bruhn Prize returns to Toronto’s Four Seasons Centre for the Performing Arts on March 25, 2023, providing a platform for young dancers and choreographers to develop their artistry. First held in 1988, this will be the 14th competition in the history of the prize and the first since the pandemic, when the careers of many young artists were interrupted or delayed. In this context, the event feels all the more thrilling and necessary as an expression of ballet’s bright future.

Former Artistic Director Erik Bruhn established the competition to recognize extraordinary young talent in top ballet companies

he worked with. This year, representatives from The National Ballet of Canada, American Ballet Theatre, The Royal Ballet and Stuttgart Ballet will compete. Dancers aged 18 to 23 perform a classical pas de deux and a contemporary piece commissioned for the occasion, with the choreographers competing for a Choreographic Prize.

The competition has flourished over the years thanks to the longstanding support of John and Claudine Bailey, who have sponsored the event since 2006. The Baileys first attended in 1995, when former dancers Johan Persson and Jaime Tapper both won on behalf of the National

Ballet. (“It was absolutely thrilling!” the Baileys recall.)

As dedicated ballet-goers, the Baileys appreciate the competition’s many benefits for young artists, such as individual coaching, international exposure and learning Principal roles. They also enjoy seeing talent on the rise.

“Without exception, the young dancers competing for the prize go on to wonderful careers, so it’s quite remarkable to see them at a crucial stage in their professional development. Now, with the addition of the Choreographic Prize, we’re also seeing some of the best choreographers. Overall, the Bruhn is a marvellous showcase for

Emerson Dayton and Noah Parets in rehearsal for The Erik Bruhn Competition. Photo by Karolina Kuras.

artists with enormous potential and we’re proud to be part of it.”

Representing the National Ballet this year are Second Soloist Noah Parets and Corps de Ballet member Emerson Dayton, with Canadian Ethan Colangelo competing for the Choreographic Prize. Parets and Dayton will perform together but compete as individuals for the male and female prizes, adjudicated by artistic directors from the participating companies.

“I participated in many dance competitions growing up but that was before I started my professional ballet training, so I was competing primarily in jazz, tap and contemporary,” says Parets. “The Bruhn is quite different because it

involves some of the most talented young professionals in the world.”

Parets and Dayton have not danced with one another previously, but they have known one another since their training days when they both attended Boston Ballet School’s Summer Dance Program.

“I have a lot of respect for Noah and I’m really looking forward to working with him,” says Dayton. “I prefer dancing with a partner to dancing alone, so I’m always eager to build the bond of trust and support that’s required for a pas de deux. Communication and adaptation are key to building a strong foundation to work from.”

Parets shares this sentiment, saying “Emerson and I are friends outside of the studio, so I think our dancing partnership will grow naturally as we spend more time working together. It’s going to be an incredible evening and I’m so excited to be part of it.”

The International Competition for The Erik Bruhn Prize is sponsored by John and Claudine Bailey.

Noah Parets is sponsored through Dancers First by John Covington Jr & Robert Lukey.

Siphesihle November is sponsored through Dancers First by Jerry Lozinski, O.C. & Joan Lozinski, O.C. Jeannine Haller is sponsored through Dancers First by Devida & Derek Smith. Siphesihle November, winner of The Erik Bruhn Prize in 2019, with Claudine and John Bailey, Jeannine Haller, Karen Kain and Choreographer Alysa Pires.

Choreographer to Watch: Ethan Colangelo

Toronto-born Ethan Colangelo is a young choreographer on the rise, with a string of prestigious collaborations to his credit and the distinction of winning the Audience Choice Award at the Copenhagen International Choreography Competition in 2021. He will create the contemporary piece for The International Competition for The Erik Bruhn Prize.

The commission for The Erik Bruhn Competition is part of a busy schedule for you. How would you describe your career in dance right now?

I’m so grateful to be busy, being a choreographer on the younger end of the spectrum. The opportunities have come quickly and they’re bringing me into spaces I’ve dreamt of for a long time. I’m working with companies in Europe, Canada and the US, where I’ve also collaborated with colleges and conservatories such as The Ailey School and

The Julliard School. I’m a recent graduate from Julliard myself, so it’s a place and developmental stage I’m very familiar with. Right now, I’m restaging Stadium for Ballet BC Annex, a work I created for the main company in 2021. I still dance as well, although that is becoming scarcer as I devote more time to choreography.

What has been your experience with The National Ballet of Canada?

I was a student at Canada’s National Ballet School and I performed with the company as Misha in James Kudelka’s The Nutcracker, so this is a full circle moment for me! Dancers like Heather Ogden and Guillaume Côté were the first to inspire me. Last year Hope Muir and Robert Binet reached out to me about creating a new piece for Sharing the Stage, which became as seen from before I work with a more contemporary language so it was a challenge, but

in a beautiful way, as I discovered new ways to facilitate a better understanding of my work. The dancers were so amazingly eager to dive into it and I’m very proud of the result.

How will you approach The Erik Bruhn Prize in terms of balancing your goals as a choreographer with the need to showcase the dancers’ strengths?

I always feel that way as a choreographer. The number one thing is to work with the dancers in front of you and make them look their best. I can’t focus solely on the product. I have to create an environment where we can take risks and be vulnerable together. The work is a vessel for the dancers and I want to share their unique signatures with as much complexity as possible.

Ethan Colangelo. Photo by Lee Gumbs. In Rehearsal. Photo by Michael Slobodian.

Clarins: A Partner in Beauty, Humanity and Authenticity

What is Clarins' giving philosophy?

As our founder, Jacques Courtin Clarins said, “For Clarins, beauty is meaningless without humanity, generosity and openness to others.”

Our sincere and sustainable commitment to serving society is about demonstrating transparency for all of our stakeholders, including customers, partners and charities. Because we firmly believe that to move forward, we must stand together. Since Clarins was founded, the company has been committed to helping to build a more united and responsible society, caring for people and caring for the planet.

What makes The National Ballet of Canada a good fit as a partner with your brand?

Making life more beautiful is first and foremost about listening. Taking inspiration from women and men to create the best in skincare and make-up. Conveying messages and images in line with our values to the people who trust our products. Promoting beauty in all its forms, without exception.

Why Cinderella in particular?

Cinderella embodies our values – Respect, Authenticity, Cooperation, Audacity and Passion – in her words and actions.

What do you hope your partnership with the Naitonal Ballet will achieve?

We aim to make life more beautiful and, beyond that, to use our passion and determination to make the world a better place and restore its beauty. True to these principles, our social responsibility strategy blends with our corporate strategy. Both are a driving force behind our Clarins We Care approach. We want it to be exemplary, for you, for us, for society and for the planet.

Naoya Ebe is sponsored through Dancers First by Gretchen Ross. Naoya Ebe and Tina Pereira. Photo by Karolina Kuras.

presents Cinderella

–Cinderella is a gift from The Volunteer Committee, The National Ballet of Canada.

MAD HOT BALLET RETURNS TUESDAY, JUNE 6, 2023

The National Ballet of Canada's annual gala returns for the first time since 2019. Save the date for a roaring evening of dance and glamour – 1920s style.

Audience and Donor Services 416 (1 866) 345 9595

3318400

Harrison James is sponsored through Dancers First by Lucy White. Tirion Law, Jeannine Haller, Siphesihle November, Emerson Dayton and Harrison James. Photo by Karolina Kuras.