Join us as a Subscriber for the 2016/17 Season “ Under Karen Kain, The National
Ballet of Canada has flowered into one of the most thrilling companies in the world.”
—Toronto Life
A Message from Artistic Director Karen Kain I am so proud to be the Artistic Director of The National Ballet of Canada at this point in its history. We are creating extraordinary and groundbreaking new work that is the talk of the ballet world, collaborating with many of the world’s best choreographers, cultivating our company’s immensely talented dance artists and exciting audiences both at home and abroad with our rich and powerful repertoire. I invite you to join us as a subscriber to experience all the artistry and beauty next season holds. I am thrilled to present the world premiere of Will Tuckett’s Pinocchio, the North American premiere of Wayne McGregor’s Genus, the Canadian premiere of John Neumeier’s A Streetcar Named Desire, as well as the beloved classics Swan Lake, Cinderella and Onegin.
Subscribers get the best seats at the best price and there is a package to suit everyone. We have made changes to the seating map for the 2016/17 season to create a more intimate experience for subscribers. We now offer more options at all price levels. See you at the Four Seasons Centre!
Karen Kain, C.C. Artistic Director
Jenna Savella and Karen Kain 2
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Artists of the Ballet
presents
Cinderella November 12—20, 2016
Rebekah Rimsay and Tanya Howard
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When is a fairy tale not a fairy tale? That is one of the questions Sergei Prokofiev set out to explore in his 1944 ballet Cinderella. And it is also a question that The National Ballet of Canada’s 2004 version of the ballet asks.
Choreography: James Kudelka, O.C. Music: Sergei Prokofiev Set and Costume Design: David Boechler Lighting Design: Christopher Dennis
Choreographed by James Kudelka, the National Ballet’s Cinderella utilizes the popularity and irresistible narrative pull of the original fairy tale to the fullest and both preserves and enhances its romantic, satiric and comic elements. But, at the same time, it subtly subverts the conventional ragsto-riches theme, the traditional idea of a young girl’s search for fulfillment in simply marrying well and ascending the power structure. What is the point, the ballet asks, of seeking happiness within a world as farcically corrupt as the one Cinderella inhabits? Working with Prokofiev’s dazzling, evocative score and stunning, Art Deco-inspired sets and costumes by David Boechler, Mr. Kudelka shapes a new Cinderella that is, while always enchanting, less a story of material reward than one of individual growth acquired through a deeper understanding of nature and the wider world around us.
Cinderella is a gift from The Volunteer Committee, The National Ballet of Canada.
Sonia Rodriguez 5
McGee Maddox and Xiao Nan Yu
Onegin November 23—27, 2016 In his 1965 three-act ballet Onegin, based on the 19th century novel in verse Eugene Onegin by Alexander Pushkin, the illustrious South African choreographer John Cranko created one of the most affecting and powerful of all modern narrative ballets. Emotionally complex and powered by a rare level of psychological realism and nuance, Onegin satisfies by being grounded in the naturalism, historical context and detail of its original source while soaring with some of the most evocative and universally expressive choreography found in any ballet.
Choreography: John Cranko based on the poem by Alexander Pushkin Copyright: Dieter Graefe Music: Pyotr Ilyich Tchaikovsky Arrangement and Orchestration: Kurt-Heinz Stolze Set and Costume Design: Santo Loquasto Lighting Design: James F. Ingalls Onegin is generously supported by an anonymous friend of the National Ballet.
Artists of the Ballet
Set to music by Tchaikovsky, Onegin tells the story of the bored Russian aristocrat Eugene Onegin, who meets, seduces and then casually abandons the trusting and innocent Tatiana. Years later, Onegin encounters a much changed, more worldly and selfpossessed Tatiana and, finding himself genuinely in love with her, is himself rejected. With beautifully modulated character development, exquisite choreography and glorious sets and costumes by Santo Loquasto, Onegin is classic balletic storytelling par excellence. Guillaume Côté 6 6
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Alexandra MacDonald
presents
The Nutcracker December 10—31, 2016
Piotr Stanczyk
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Ever since its premiere in St. Petersburg in 1892, The Nutcracker has been an integral and irreplaceable part of Christmas celebrations worldwide and a work of theatrical exuberance synonymous with the unfettered joys of childhood wonderment. The National Ballet of Canada’s touching and multilayered version of the famous ballet, choreographed by James Kudelka, is a spectacular re-imagining that has been greeted with rapturous acclaim by audiences whenever it is performed. This Nutcracker creates a fresh context for the E.T.A. Hoffmann children’s classic that has formed the basis for so many adaptations. Mr. Kudelka situates the story in 19th century Russia, where the idyllic, natural rhythms of farm life provide the backdrop to the fantastic dream journey of Misha and Marie, the brother and sister at the centre of the narrative. We follow the bickering siblings through an astonishing dreamscape of fantastic creatures, places and events, before they finally arrive at the magical palace of the Sugar Plum Fairy, having grown into a new maturity and understanding. With Tchaikovsky’s unforgettable score underpinning the entire spectacular affair, The Nutcracker is a ballet like no other.
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
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Photo courtesy of Dennis Herbert: dherbertart.com.
World Premiere
Pinocchio March 11—24, 2017 One of the most captivating and enduring of all children’s stories, but one replete with themes and interpretive possibilities that allow it to transcend the limitations of just one genre, Pinocchio has been adapted to seemingly countless media and art forms over the years. Its hauntingly archetypal central idea, that of a man who so wants a child that he creates one—in the form of a marionette—out of wood, only to have the marionette come to life and create problems of his own, has proven a beguilingly potent metaphor to many artists. What began as an Italian children’s novel in 1883 has been made over the years into musicals, operas, animated films and television shows. Now Pinocchio makes its full length balletic world premiere this season with The National Ballet of Canada. Created by choreographer Will Tuckett, Guest Principal Character Artist with The Royal Ballet in England, Pinocchio is a wildly funny, often moving and sometimes even dark re-telling of the original story, recapturing the adventures of the famous wooden boy with brilliantly inventive choreography and unforgettable stagecraft.
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Choreography: Will Tuckett Music: Paul Englishby Librettist and Dramaturge: Alasdair Middleton Set & Costume Designer: Colin Richmond Assistant to the Choreographer: Emma Brunton PRODUCED AND COMMISSIONED BY THE NATIONAL BALLET OF CANADA Lead philanthropic support for Pinocchio is provided by an anonymous friend of the National Ballet, Frances & Tim Price and The Producers’ Circle.
Photo courtesy of Nina Hale: ninahale.com.
The Producers’ Circle: Gail & Mark Appel, John & Claudine Bailey, Inger Bartlett & Marshal Stearns, David Binet, Susanne Boyce & Brendan Mullen, Gail Drummond & Bob Dorrance, Sandra Faire & Ivan Fecan, Kevin & Roger Garland, Emmanuelle Gattuso and Allan Slaight, The William & Nona Heaslip Foundation, Rosamond Ivey, Hal Jackman Foundation, Anna McCowan-Johnson & Donald K. Johnson, O.C., Judy Korthals & Peter Irwin, Judith & Robert Lawrie, Mona & Harvey Levenstein, Joan & Jerry Lozinski, The Honourable Margaret Norrie McCain, C.C., Julie Medland, Sandra Pitblado & Jim Pitblado, C.M., Lynda & Jonas Prince, Susan Scace & Arthur Scace, C.M., Q.C., Sandra L. Simpson and Noreen Taylor, C.M. & David Staines, C.M., O.Ont.
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Wayne McGregor
North American Premiere
Genus & The Concert Presented by
March 29—April 2, 2017
Jerome Robbins
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The wonderfully fertile choreographic imagination of Wayne McGregor returns to The National Ballet of Canada with his 2007 work Genus. Inspired by Darwin’s Origin of Species and set to a score by Joby Talbot and Deru, Genus is choreographed for 24 dancers and features much of the intricate and rigorously conceived dance vocabulary— breathtaking extensions and undulations that seem to test the very boundaries of physical expression— that is the hallmark of Mr. McGregor’s work. Genus is contemporary dance at its most exhilarating. Jerome Robbins’ The Concert is an uproarious comic jeu d’esprit centred on a group of concertgoers attending a Chopin piano recital. Inspired by the music, the concertgoers begin to fantasize scenarios of utterly shameless comic extravagance, all enacted by the dancers with appropriate gusto. Subtitled The Perils of Everybody, this is Robbins the populist at his best, the skillful entertainer who could wed brilliant choreography with slapstick panache and meld them into an unpretentious and lighthearted theatrical triumph.
Genus Concept, Direction & Choreography: Wayne McGregor Music: Joby Talbot, Deru Set and Costume Design: Vicki Mortimer Lighting Design: Lucy Carter, recreated by Simon Bennison Video Design: Ravi Deepres The Concert (Or, The Perils of Everybody) A Charade in One Act Choreography: Jerome Robbins Music: Frédéric Chopin, orchestrated by Clare Grundman Set Design: Saul Steinberg Costume Design: Irene Sharaff Lighting Design: Jennifer Tipton The Concert is a gift from The Volunteer Committee, The National Ballet of Canada.
Artists of the Paris Opéra Ballet. Photo courtesy of Paris Opéra Ballet.
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Canadian Premiere
A Streetcar Named Desire
Carsten Jung and Silvia Azzoni. Photo courtesy of The Hamburg Ballet.
A Ballet by John Neumeier June 3—10, 2017
One of the best-known and most canonical of American stage plays – and equally esteemed as a film – Tennessee Williams’ A Streetcar Named Desire is adapted for dance with daring and sensitivity by choreographer John Neumeier. In his 1983 ballet version of the play, Mr. Neumeier is less concerned with simply retelling the precise narrative details of the original than with using the famous story of Blanche Dubois as a way of exploring themes of memory, madness and desire.
Carsten 14 14 14
Jung and Carolina Aguero. Photo courtesy of The Hamburg Ballet.
The first act finds Blanche in a mental institution, reliving memories of her early life and relationships. This, in effect, functions as a prologue or backstory to the more familiar world of the second act when Blanche visits her sister in New Orleans. The two acts are radically different in conception, mood and feeling. The first, set to music by Prokofiev, is more romantic and reflective in character. The second, to music by Schnittke, takes on a more fragmentary, jarring tone. But both parts are seen and experienced through the consciousness and sensibility of Blanche and, taken together, create a wholly unique and compelling interpretation of one of the seminal works of 20th century drama.
Choreography, Costume, Set and Lighting Design: John Neumeier Staged by: John Neumeier, Tamas Detrich and Laura Cazzaniga Music: Sergei Prokofiev and Alfred Schnittke
John Neumeier
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Evan McKie and Svetlana Lunkina
Swan Lake June 15—25, 2017
Selene Guerrero-Trujillo with Artist of the Ballet
One of the supreme achievements of 19th century classicism, Swan Lake has remained, since its premiere in Moscow in 1877, one of the most enduringly fascinating, beloved and iconic ballets. For many it is simply the ne plus ultra of the classical ballet aesthetic. The extraordinary range of emotional and thematic possibilities that the ballet provides, the opportunities it presents for both technical virtuosity and generous, heartfelt lyricism, its simultaneous embrace of both mythical and real worlds and the incomparable beauty of Tchaikovsky’s score all combine to make it a ballet experience like no other.
Choreography: James Kudelka, O.C. Music: Pyotr Ilyich Tchaikovsky Set and Costume Design: Santo Loquasto Lighting Design: Robert Thomson Swan Lake is made possible by generous financial support from production underwriters Sandra Pitblado & Jim Pitblado, C.M. and Margaret Fleck & Jim Fleck, C.C.
Created in 1999 by James Kudelka, this version of the ballet adheres to the essential fablelike character of the original story and retains its archetypal power. At the same time, Mr. Kudelka locates in the well-known narrative fresh perspectives and thematic implications that give the ballet a more contemporary edge. Santo Loquasto’s atmospheric and dramatic sets and costumes provide the perfect setting for the ballet’s shifting moods and timeless beauty.
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Heather Ogden 17
The Twelfth International Competition for The Erik Bruhn Prize November 15, 2016 The legendary Danish dancer Erik Bruhn holds a place of affection in the hearts of ballet lovers everywhere but he has a special relationship with The National Ballet of Canada. Revered as one of the 20th century’s greatest classical dancers, he was also a gifted choreographer and Artistic Director, the last a role he assumed with the National Ballet from 1983 until his death in 1986. As part of his legacy, Mr. Bruhn created The Erik Bruhn Prize, which was to be awarded to one male and one female dancer who, in his words, “reflect such technical ability, artistic achievement and dedication as I endeavoured to bring to dance.”
and in a contemporary pas de deux or solo work. There is also a prize awarded for the evening’s best contemporary choreography. Winners are chosen by a jury of the Artistic Directors of the participating companies. Honouring the legacy of one of ballet’s great dancers and the up and coming dancers of today, The Erik Bruhn Prize is an evening of rich and exciting artistry.
The Twelfth International Competition for The Erik Bruhn Prize is presented by John and Claudine Bailey.
First held in 1988, the International Competition for The Erik Bruhn Prize showcases some of the finest young dancers from the top companies in the world. Competitors must be between 18 and 23 years of age and are selected by the respective Artistic Directors of their companies. Each pair performs in a classical pas de deux or variation Erik Bruhn with Artists of the Ballet, ca. 1979 18 18 18
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All dates, programmes, casting and pricing are subject to change without advance notice. 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. 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. Artists of the Ballet
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Fall Season November 2016 Monday
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Holiday Season December 2016 Wednesday
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Donors Make an Impact Our donors help The National Ballet of Canada make an extraordinary impact on Canadian culture and within the world of dance. Each donation helps Artistic Director Karen Kain fulfill her vision to invest in our dancers, to commission new works that advance the art of ballet, to tour to major international dance centres and to share our joy of dance through community programming.
Karen Kain with Artists of the Ballet 32
XX. Photo by XX.
Experience More In gratitude, the National Ballet invites donors to enjoy even more opportunities to appreciate ballet: see the dancers rehearse in the studio, tour the ballet’s home, visit the production centre and come backstage. Discover a unique perspective on the artists and ballet you love. Include a donation with your subscription and join us behind the scenes today. For more information about giving, please visit national.ballet.ca/donate The National Ballet of Canada is a registered charity. Charitable Business Number: 11905 1449 RR0001. Greta Hodgkinson. Patrons’ Council members at From Concept to Curtain event. 33
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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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Join us on social media Front Cover: Sonia Rodriguez. Photo by Karolina Kuras. Back Cover: Meghan Pugh. Photo by Karolina Kuras.
Jurgita Dronina and Evan McKie. Naoya Ebe. Elena Lobsanova. 34
Photography: Aleksandar Antonijevic, Holger Badekow, Gary Beechy, Aaron Vincent Elkaim, Henry Grossman, Steven Haberland, Karolina Kuras, Christian Leiber, Nick Mead, Daniel Neuhaus, Frederic Oringher, Dylan Tedaldi, Christopher Wahl and Bruce Zinger. 35
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2016 17 season Fall Season
Cinderella The Twelfth International Competition for The Erik Bruhn Prize Onegin Holiday Season
The Nutcracker Winter Season World Premiere
Pinocchio North American Premiere
Genus & The Concert Summer Season Canadian Premiere
A Streetcar Named Desire Swan Lake Mailing Address The Walter Carsen Centre for The National Ballet of Canada 470 Queens Quay West Toronto, Ontario Canada M5V 3K4 Audience and Donor Services 416 345 9595 1 866 345 9595 national.ballet.ca
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