blossom festival, august 17-18, 2013 concerts

saturday August 17sunday August 18THE JOFFREY BALLET:THE RITE OF SPRINGThe Cleveland Orchestraconducted by Tito Muñoz

2 Blossom Music Festival

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee Chair

Yoko MooreASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Alexandra PreucilASSISTANT CONCERTMASTER

Dr. Jeanette Grasselli Brownand Dr. Glenn R. Brown Chair

Takako MasamePaul and Lucille Jones Chair

Wei-Fang GuDrs. Paul M. and Renate H. Duchesneau Chair

Kim GomezElizabeth and Leslie Kondorossy Chair

Chul-In ParkHarriet T. and David L.Simon Chair

Miho HashizumeTheodore Rautenberg Chair

Jeanne Preucil RoseDr. Larry J.B. and Barbara S. Robinson Chair

Alicia KoelzOswald and Phyllis Lerner Gilroy Chair

Yu YuanPatty and John Collinson Chair

Isabel TrautweinTrevor and Jennie Jones Chair

Mark DummGladys B. Goetz Chair

Katherine BormannYing Fu

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2

James and Donna Reid Chair

Eli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Elayna DuitmanIoana MissitsCarolyn Gadiel WarnerStephen WarnerSae ShiragamiVladimir DeninzonSonja Braaten MolloyScott WeberKathleen CollinsBeth WoodsideEmma ShookJeffrey Zehngut

Yun-Ting Lee

VIOLASRobert Vernon*

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2

Mark JackobsJean Wall Bennett Chair

Arthur KlimaRichard WaughLisa BoykoLembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick Connolly

CELLOSMark Kosower*

Louis D. Beaumont Chair

Richard Weiss1

The GAR Foundation Chair

Charles Bernard2

Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya EllRalph CurryBrian ThorntonDavid Alan HarrellPaul KushiousMartha BaldwinThomas Mansbacher

BASSESMaximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2

Scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark AthertonThomas SperlHenry Peyrebrune

Charles Barr Memorial Chair

Charles CarletonScott DixonDerek Zadinsky

HARPTrina Struble*

Alice Chalifoux Chair

FLUTESJoshua Smith*

Elizabeth M. andWilliam C. Treuhaft Chair

Saeran St. ChristopherMarisela Sager 2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink

PICCOLOMary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOESFrank Rosenwein*

Edith S. Taplin Chair

Mary LynchJeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaffe Chair

CLARINETSFranklin Cohen*

Robert Marcellus Chair

Robert WoolfreyDaniel McKelway 2

Robert R. and Vilma L. Kohn Chair

Linnea Nereim

E-FLAT CLARINETDaniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINETLinnea Nereim

BASSOONSJohn Clouser *

Louise Harkness Ingalls Chair

William HestandBarrick Stees2

Sandra L. Haslinger Chair

Jonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSRichard King *

George Szell Memorial Chair

Michael Mayhew §

Knight Foundation Chair

Jesse McCormickHans ClebschAlan DeMattia

TRUMPETSMichael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack SutteLyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETSMichael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONESMassimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard StoutAlexander andMarianna C. McAfee Chair

Shachar Israel2

BASS TROMBONEThomas Klaber

EUPHONIUM AND BASS TRUMPETRichard Stout

TUBAYasuhito Sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANIPaul Yancich*

Otto G. and Corinne T. Voss Chair

Tom Freer 2

PERCUSSIONMarc Damoulakis°

Margaret Allen Ireland Chair

Donald MillerTom Freer

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin Chair

Carolyn Gadiel WarnerMarjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’BrienDonald Miller

ORCHESTRA PERSONNELCarol Lee IottDIRECTOR

Karyn GarvinMANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIEDSidney and Doris Dworkin Chair

Sunshine Chair

* Principal ° Acting Principal § Associate Principal 1 First Assistant Principal 2 Assistant Principal

CONDUCTORSChristoph von DohnányiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,CLEVELAND ORCHESTRA MIAMI

James FeddeckASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

FRANZ WELSER-MÖST MUSIC DIRECTORKelvin Smith Family Chair

T H E C L E V E L A N D O R C H E S T R A

The Cleveland Orchestra

3Blossom Music Festival

Welcome, Joffrey! Our collaboration with The Joffrey Ballet continues. With these summer performances at Blossom, coupled with five sold-out perfor-mances of The Nutcracker last winter at PlayhouseSquare in Cleveland, we have again confirmed just how special a spark can come from pair-ing a world-class dance company with the brilliant musicianship of The Cleveland Orchestra. Your attendance here tonight is testament to the interest and enthusiasm of Northeast Ohio for great dance perfor-mances.

This weekend features a special anniversary presentation of The Rite of Spring, in Joffrey’s reconstruction of the original production from 100 years ago this year. In this single work, in its surprisingly different movements and sounds, can be found the essence of mod-ern dance and modern music. We are indeed fortunate to witness this acclaimed recreation here in Northeast Ohio.

We extend thanks to our friends at DANCECleveland and the Heinz Poll Summer Dance Festival, who have helped in promoting this weekend’s performances and connecting with people throughout the region. The Cleveland Orchestra is proud to stand with the region’s dance community in bringing audiences the best in dance.

Please also join with me in extending special thanks to The An-drew W. Mellon Foundation, whose important and generous grant to the Orchestra announced this past spring — and its matching gift provision — is focused to increase funding so that ballet and opera can be an ongoing and integral part of each Cleveland Orchestra season.

Gary HansonExecutive DirectorThe Cleveland Orchestra

T H E C L E V E L A N D O R C H E S T R A F R A N Z W E L S E R - M Ö S T M U S I C D I R E C T O R

Welcome


Your passion for ballet and opera is defining the future.

Performances of ballet and opera with The Cleveland Orchestra

are made possible through the generous support of these patrons:

Chuck and Sandy Abookire

Nancy A. Adams

Dr. and Mrs. John A. Brown

Ralph and Barbara Daugstrup

Barbara Ann Davis

Judith and George W. Diehl

Judith Ernest and Jack Harley

T. K. and Faye A. Heston

Tim and Linda Koelz

Mrs. Emma S. Lincoln

Elizabeth McBride

Mr. and Mrs. James Meil

Mr. and Mrs. Stanley A. Meisel

The Andrew W. Mellon Foundation

Donald and Alice Noble Foundation

Mr. J. William and Dr. Suzanne Palmer

Dr. James and Lynne Rambasek

Barbara S. Robinson

Mr. Larry J. Santon

Patricia J. Sawvel

Dr. Rachel R. Schneider

Drs. Daniel and Ximena Sessler

Ms. Frances L. Sharp

John and Annette Shaughnessy

Dr. Elizabeth Swenson

Mr. Ronald E. Teare

Carole Hershey Walters

Grover and Mary Zinn

Future support for Cleveland Orchestra performances of ballet and opera

is being matched dollar-for-dollar through a generous grant from

THE ANDREW W. MELLON FOUNDATION To discuss how you can participate in this program,

please contact Cori Finefrock at The Cleveland Orchestra

by calling 216-231-7545

T H E C L E V E L A N D O R C H E S T R A

5Blossom Music Festival Program: August 17-18

Saturday evening, August 17, 2013, at 8:00 p.m. Sunday evening, August 18, 2013, at 8:00 p.m.

THE JOFFREY BALLET ASHLEY WHEATER Artistic Director

THE CLEVELAND ORCHESTRA FRANZ WELSER-MÖST Music Director

conducted by TITO MUÑOZwith JOELA JONES, piano

The Saturday performance is dedicated to Barbara S. Robinson and to Giuliana C. and John D. Koch

in recognition of their extraordinary generosity in supportof The Cleveland Orchestra’s 2012-13 Annual Fund.

The Sunday performance is dedicated to Jeanette Grasselli Brown and Glenn R. Brown

in recognition of their extraordinary generosity in supportof The Cleveland Orchestra’s 2012-13 Annual Fund.

Media Partners: WCLV Classical 104.9 FM ideastream®

90.3 WCPN ideastream®

Interplay choreography by Jerome Robbins

to music by Morton Gould

Son of Chamber Symphonychoreography by Stanton Welch

to music by John Adams

Adagiochoreography by Yuri Possokhovto music by Aram Khachaturian

I N T E R M I S S I O N

The Rite of Springchoreography after Vaslav Nijinsky, reconstructed by Millicent Hodson

to music by Igor Stravinsky


Ashley Wheater Artistic Director The Joffrey Ballet

Ashley Wheater has dedicated his life to dance. He was born

in Scotland and trained at the Royal Ballet School in Eng-

land. While at the school, he worked with Frederick Ashton in

Benjamin Britten’s Death in Venice, and performed at Covent

Garden in numerous productions, including Swan Lake, Sleep-

ing Beauty, Giselle, and The Dream. Having graduated to the

upper school of the Royal Ballet, Mr. Wheater danced in many

full-length productions and performed with Rudolph Nureyev

in Nureyev and Friends at the London Coliseum.

After leaving the Royal Ballet, Mr. Wheater joined the

London Festival Ballet, where he continued to work with

Nureyev in his Romeo and Juliet and Sleeping Beauty and with Glen Tetley in

Sphinx and Greening, along with a large repertoire of classics and new creations.

Under the artistic direction of John Field, he was promoted to principal dancer at

the age of 20. In 1980, Ashley Wheater joined the Australian Ballet, where he con-

tinued dancing principal roles in both classical and contemporary work, especially

in full-length ballets by John Cranko.

Mr. Wheater joined The Joffrey Ballet in 1984 at the invitation of Gerald Ar-

pino. For the next four years, he performed various works by American choreogra-

phers, including William Forsythe, Gerald Arpino, Mark Morris, Paul Taylor, and

Laura Dean, as well as repertoire by Ashton and Cranko.

Joining the San Francisco Ballet in 1989, Ashley Wheater continued his cre-

ative career, working with Helgi Tomasson, James Kudelka, David Bintley, and

other choreographers. He became ballet master at the San Francisco Ballet in 1997

and, in 2002, assistant to the artistic director.

Since his appointment in 2007 as artistic director of The Joffrey Ballet, Mr.

Wheater has built upon the vibrant legacy of founders Robert Joffrey and Gerald Ar-

pino. True to Joffrey’s vision for the company, he honors ballet masterpieces and seeks

to preserve them, is constantly in search of new creative voices, and presents work rel-

evant to the community and today. Under his direction, a range of world-class chore-

ographers have created new works for the company. Full-length ballets that have been

added to the Joffrey’s repertoire include Lar Lubovitch’s Othello, Ronald Hynd’s The

Merry Widow, the world premiere of Yuri Possokhov’s Don Quixote, Krzysztof Pastor’s

Romeo and Juliet, and Stanton Welch’s La Bayadère: The Temple Dancer.

In 2008, Mr. Wheater was the recipient of the Boeing Game-Changer Award

in recognition of his commitment to community engagement in Chicago and to

the celebration of diversity through dance. In 2010, Mr. Wheater, representing The

Joffrey Ballet, was named Lincoln Academy Laureate, the highest honor presented

by the State of Illinois.

The Joffrey Ballet


T H E J O F F R E Y B A L L E T has been hailed as “America’s Ballet Company of

Firsts.” The Joffrey Ballet’s long list of “firsts” includes first dance company

to perform at the White House (at Jacqueline Kennedy’s invitation), first to

appear on television, first American company to visit Russia, first classical

dance company to go multi-media, first to commission a rock ’n’ roll ballet,

first and only dance company to be featured on the cover of Time magazine,

and the first company to have had a major motion picture based on it, Rob-

ert Altman’s The Company.

For more than a half-century, The Joffrey Ballet’s commitment to tak-

ing world-class, artistically vibrant work to a broad and varied audience has

created a solid foundation that continues to support the company’s unprec-

edented capacity for achieving important “firsts.” Today, the Joffrey, which

has been hugely successful in its former residencies in New York and Los

Angeles, lives permanently in a brilliant new facility, Joffrey Tower, in the

heart of America in Chicago, Illinois. The company’s commitment to ac-

cessibility is met through the most extensive touring schedule of any dance

company in history, an innovative and highly effective education program

(including the much-lauded Academy of Dance, Official School of The Jof-

frey Ballet), and collaborations with myriad other visual and performing

arts organizations.

Classically trained to the highest standards, The Joffrey Ballet expresses

a unique, inclusive perspective on dance, proudly reflecting the diversity of

America with its company, audiences, and repertoire, which includes major

story ballets, reconstructions of masterpieces, and contemporary works.

Founded by visionary teacher Robert Joffrey in 1956 and guided by

celebrated choreographer Gerald Arpino from 1988 until 2007, The Joffrey

Ballet continues to thrive under internationally renowned artistic director

Ashley Wheater and executive director Greg Cameron. The Joffrey Ballet

has become one of the most revered and recognizable arts organizations in

America and one of the top dance companies in the world.

To learn more about The Joffrey Ballet and to read biographies of

individual dancers, please visit joffrey.org.

The Joffrey Ballet

8 2013 Blossom FestivalConductor

Tito MuñozTito Muñoz was recently appointed music director of Le Poisson Rouge’s Ensem-

ble LPR, the flagship ensemble of New York’s celebrated multimedia performance

venue, dedicated to the fusion of popular and art cultures in music, film, theater,

dance, and fine art. He is also music director of the Opéra Na-

tional de Lorraine and the Orchestre Symphonique et Lyrique

de Nancy. In addition, his guest conducting engagements in

Europe and across North America feature concert, opera, and

ballet performances.

An alumnus of the National Conducting Institute,

Mr. Muñoz made his professional conducting debut in 2006

with the National Symphony Orchestra. That same year,

he made his Cleveland Orchestra debut at Blossom, and sub-

sequently served a three-year term as assistant conductor (2007-

10). He continues to maintain a close relationship with The

Cleveland Orchestra, where he has returned to conduct annual-

ly, including a critically acclaimed subscription week, stepping

in on short notice for Pierre Boulez in 2011. Mr. Muñoz’s first

performances with The Joffrey Ballet and The Cleveland Orchestra in 2009 led to a

series of further performances, as well as an invitation to tour with Joffrey during

the 2010-11 season. He most recently returned to Cleveland to lead performances

with the Orchestra of Joffrey Ballet’s The Nutcracker at PlayhouseSquare in Novem-

ber 2012 and the Martin Luther King Jr. Celebration Concert in January 2013.

Mr. Muñoz’s performances across North America have included concerts with

the orchestras of Atlanta, Columbus, Detroit, Hartford, Houston, Indianapolis,

Phoenix, and San Antonio, among others. Following recent engagements in Europe

with the Lausanne Chamber Orchestra and Opéra de Rennes, he has upcoming de-

buts there with the Danish Radio Sinfonietta, Deutsche Radio Philharmonie Saar-

brücken, Luxembourg Philharmonic, and the Orchestre National de Lorraine.

During the summers 2004-06, Mr. Muñoz attended the American Academy of

Conducting at Aspen, where he studied with David Zinman and Murry Sidlin and

participated in masterclasses with Asher Fisch, Leon Fleisher, George Manahan,

David Robertson, and Leonard Slatkin. He is the winner of the Aspen Music Festi-

val’s 2005 Robert J. Harth Conductor Prize and the 2006 Aspen Conducting Prize,

and in 2007 returned to Aspen as the festival’s assistant conductor.

Born in New York City, Tito Muñoz began his musical training on the violin

at age thirteen in the Juilliard School’s Music Advancement Program. He con-

tinued his studies at the Manhattan School of Music, Fiorello H. LaGuardia High

School of Music & Art and Performing Arts, and Queens College City University of

New York. An accomplished violinist, Mr. Muñoz performed in a variety of New

York’s leading ensembles, including the New York Virtuosi, Ensemble Sospeso, and

Orchestra of St. Luke’s.


ASHLEY WHEATERArtistic Director

GREG CAMERONExecutive Director

ROBERT JOFFREY GERALD ARPINO Founder Founder

Artists of The Company

Matthew Adamczyk Derrick Agnoletti Yoshihisa Arai

Amanda Assucena Guillaume Basso Miguel Angel Blanco

Oğulcan Borova Anais Bueno Fabrice Calmels Raul Casasola

April Daly Fernando Duarte Erica Lynette Edwards Yumelia Garcia

Cara Marie Gary John Mark Giragosian Elivelton das Gracas Dylan Gutierrez

Elizabeth Hansen Rory Hohenstein Anastacia Holden Dara Holmes

Victoria Jaiani Graham Maverick Caitlin Meighan Jeraldine Mendoza

Jacqueline Moscicke Amber Neumann Alexis Polito

Christine Rocas Aaron Rogers Lucas Segovia Aaron Smyth

Temur Suluashvili Shane Urton Alberto Velazquez Mahallia Ward

Jenny Winton Joanna Wozniak Kara Zimmerman

NICOLAS BLANCBallet Master

GERARD CHARLESBallet Master

GRACA SALESBallet Master and Principal Coach

SCOTT SPECKMusic Director

Production

KATHERINE SELIGPrincipal Stage Manager

AMANDA HEUERMANNStage Manager

JACK MEHLERLighting Director

The Joffrey Ballet

10 The Cleveland Orchestra

Interplaychoreography by Jerome Robbins

set to American Concertette (for piano and orchestra)

music by Morton Gould

costumes by Santo Loquasto

lighting by Jack Mehler after Ronald Bates

B A L L E T N O T E S Jerome Robbins (1918-1998) remains one of the great masters of American theater, whose influence over ballet and Broadway has been profound and long lasting. Following the enormous success of his first ballet, Fancy Free, Jerome Robbins chose a work by the American composer Morton Gould for his second ballet, Interplay. Both the music and the ballet are full of humor and jazzy influences, and are distinctly American. The ballet was first performed in “Concert Varieties” at the Ziegfeld Theatre in June 1945, and has since become a favorite of the contemporary American repertory. It still appears fresh and full of youthful energy.

Although a dance without a storyline, Interplay is full of human interac-tion. The ballet shows the interplay between classical ballet steps and the contemporary spirit with which they are executed, between the dancers and the orchestra, and between the dancers themselves. The playful nature of the movements may make the work seem deceptively simple, but the choreography is packed with demanding technical feats and a sophisticated use of structure. Here, Robbins experimented with choreographic patterns and the interactions of dancers in various formations. Like a kinetic kaleido-

The Joffrey Ballet

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11Blossom Festival 2013

scope, lines, diagonals, circles, squares, and more complex patterns continu-ally evolve from each other. The choreography’s style matches Gould’s score, with its jazzy orchestration and use of swingtime rhythms of the 1940s. The ballet is divided into 4 movements: 1.) Free-Play, 2.) Horse-Play, 3.) By-Play, and 4.) Team-Play. Interplay was brought into The Joffrey Ballet’s repertoire in 1972.

American composer, pianist, and conductor Morton Gould (1913-1996) was among a new generation of voices in classical music that came of age in the middle of the 20th century. Although often overshadowed by Copland, Bernstein, and Barber, like them he worked across a variety of styles and idioms, in the concert hall and theater, and incorporated ideas from popular music into his works. Gould created his American Concertette in 1942-43 for the pianist José Iturbi. It was premiered in August 1943 in Philadelphia. The composer later wrote that it was “conceived as a little concerto for piano and orchestra” using “popular idiomatic materials in a classical framework and fab-ric.” Robbins heard the premiere on radio and thought it would make perfect music for a ballet.

For this weekend’s performances, Cleveland Orchestra principal key-board Joela Jones is featured in the solo musical role. An artist of exception-al versatility, Jones plays piano, organ, harpsichord, celesta, synthesizer, and accordion with The Cleveland Orchestra. As soloist with the Orchestra, she has performed over fifty different concertos in more than 200 performances at Severance Hall and Blossom, as well as on tour in Europe and Asia. She holds the Rudolf Serkin Principal Keyboard Endowed Chair.

Performed by permission of The Robbins Rights Trust.

World Premiere: June 1, 1945, Ziegfeld Theatre, New York City

Length of Ballet: 18 minutes

THE DANCERS

Cara Marie Gary, Amber Neumann, Christine Rocas, Kara Zimmerman,

John Mark Giragosian, Aaron Rogers, Lucas Segovia, Alberto Velazquez

Mvt 1: Free-Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Full Cast

Mvt 2: Horse-Play . . . . . . . . . . . . . . . . . . . . . . . . . . John Mark Giragosian

Mvt 3: By-Play . . . . . . . . . . . . . . . . Christine Rocas & Alberto Velazquez

Mvt 4: Team-Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Full Cast

The Joffrey Ballet

12 2013 Blossom Festival

Son of Chamber Symphonychoreography by Stanton Welch

music by John Adams

costume design by Travis Halsey

lighting design and scenic concept by Jack Mehler

B A L L E T N O T E S Australian choreographer Stanton Welch (b. 1969) assumed leadership in 2003 of Houston Ballet, America’s fourth largest classical ballet company. Today, he is one of the most sought-after choreographers of his generation, having created works for such companies as Houston Ballet, San Francisco Ballet, American Ballet Theatre, Australian Ballet, and Royal Danish Ballet.

When asked to create a new work for The Joffrey Ballet, Welch began by looking for a variety of music to offer to Ashley Wheater. During that process, there was one piece that really caught his imagination, Son of Chamber Sym-phony by John Adams. Welch thought that Adams’s deconstruction of the music was like looking at the inner workings of a clock. The music inspired the choreographer to move in ways both expected and unexpected.

While listening to the music, Welch already began to see the structure of his future ballet. As a choreographer, he likes to strip away the layers and to show the dancers, at the edge of their ability, riding the top of their physical wave. Just as the composer took a classical musical structure and deconstructed it, so does the choreographer take standard ballet traditions and opens them out to discover new interpretations and greater awareness. Throughout the ballet, there are references (more of an inspiration than direct quotes) to many classical works, turned inside out and evolved. Welch wants the audience to feel familiar with what they are seeing, but it is not important for them to know exactly why.

Welch says that “so much of ballet is about hiding the difficulties and seeking to attain seamless movement. Here I want to show the seams.” The costuming underscores this, too. Recognizable forms are literally turned inside out, and show the inner construction marks and understructure of the gar-ments. The women wear recognizable, but stylized tutus, the geometric shape of which forms an integral part of the movement and choreographic structure.

The ballet opens with one woman in the quintessential ballet costume, a tutu, surrounded by four men. This could be the set up for the “Rose Adagio” from Sleeping Beauty, but see how quickly this allusion is shattered and the choreography takes off in new directions. The second movement is a pas de deux, another essential element of most classical ballets, but there are many additional things going on here. It is more than just a dance for two, there

The Joffrey Ballet

13The Cleveland Orchestra The Joffrey Ballet

is struggle and complexity. In the final movement, there are allusions to a corps de ballet of swans, but the dynamics and thrust of the work show us so much more. Welch has given the group of women steps that would normally be given to principal dancers — he feels an obligation to keep moving the classical art forward and to challenge the dancers in a way that allows them to grow. But it is not only about athleticism. At the same time, Mr. Welch also looks for sensuality in his choreography.

Welch says that there is no correct response that an audience member should have to his work, but he hopes that they will be left with a feeling. Son of Chamber Symphony is a dance work that can be enjoyed on many levels. The dance can be enjoyed as a visual enhancement of the score (being mar-ried so well to the music), or for the pure physical achievements of the danc-ers, or, for those with a greater familiarity with the classical repertoire, it can be fun to spot the short quotes or allusions to familiar works within the piece.

Composer John Adams (b. 1949) emerged in the 1990s as America’s most performed and most influential serious composer since Aaron Copland’s hey-day in the mid-20th century. Worldwide celebrations and festivals surrounding his sixtieth birthday in 2007 gave him a secure new platform as one of music’s established and respected voices. Too often labeled and lumped in with other trail-blazing “minimalist” composers (such as Philip Glass and Steve Reich), Ad-ams has evolved far beyond minimalism’s repetitive reductionism. The depth, lyricality, imagination, and myriad conceptual vitality that he has invested in his music has created a body of works that is both timeless and enduring.

Music performed by arrangement with Hendon Music Inc., a Boosey & Hawkes company, publisher and copyright owner.

World Premiere: August 22, 2012, Jacob’s Pillow, Becket, Massachusetts


THE DANCERS

Mvt 1

Anastacia Holden & Rory Hohenstein

Derrick Agnoletti, Yoshihisa Arai, Oğulcan Borova, Graham Maverick

Mvt 2

April Daly & Dylan Gutierrez

Mvt 3

Christine Rocas & John Mark Giragosian

Elizabeth Hansen, Dara Holmes, Caitlin Meighan,

Jeraldine Mendoza, Alexis Polito, Joanna Wozniak


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Adagiochoreography by Yuri Possokhov

set to music from the ballet “Spartacus” by Aram Khachaturian

lighting by Jack Mehler

B A L L E T N O T E S Choreographer Yuri Possokhov received his training at the Moscow Ballet School and danced with the Bolshoi Ballet for ten years. He later joined the Royal Danish Ballet and then San Francisco Ballet. In 2006, after retiring as a principal dancer, he was appointed choreographer-in-residence with San Francisco Ballet.

Possokhov choreographed this work on Joffrey dancers Victoria Jaiani and Temur Suluashvili for the Napa Valley Festival del Sole. Since its premiere, Possokhov has had the opportunity to revisit the work, to expand upon it, and to refine the interpretation of the dance. Although the music is very recogniz-able as the famous pas de deux from Spartacus, the duet is the choreographer’s response to the music itself and not an interpretation of the original storyline of the work. This dance is full of fluid movement as well as technically challeng-ing moments that will touch the soul of the audience who share this experience with the dancers.

Composer Aram Khachaturian (1903-1978) was a Soviet Armenian com-poser whose works spanned a range of musical forms, including ballets, sym-phonies, concertos, and film scores. Along with Prokofiev and Shostakovich, he is sometimes called one of the “three titans” of Soviet music. Like them, he was also reprimanded for anti-Soviet “formalism” in his music, but was never-theless more often embraced by the government censors and praised as an example to others. He composed his score for the full-length ballet Spartacus in 1954, for which he was awarded the Lenin Prize. It remains one of his most performed and widely recognized works.

World Premiere: July 21, 2012, Napa Valley Festival del Sole


THE DANCERS

Victoria Jaiani & Temur Suluashvili

The Joffrey Ballet

17Blossom Music Festival The Joffrey Ballet

The Rite of Spring[Le Sacre du Printemps]

scenario by Igor Stravinsky and Nicholas Roerich

choreography after Vaslav Nijinsky

reconstructed and staged by Millicent Hodson

music by Igor Stravinsky performed in a reduced orchestration by Jonathan McPhee

costumes and décors after Nicholas Roerich

reconstructed and supervised by Kenneth Archer

artistic supervision of the reconstruction by Robert Joffrey

lighting design by Jack Mehler after Thomas Skelton

scenic supervision and costumes executed by

Robert Perdziola and Sally Ann Parsons

originally commissioned for Ballets Russes by Sergei Diaghilev

Part I. The Adoration of the Earth Spring.

The Earth is covered with flowers. The Earth is covered with grass.

A great joy reigns over the Earth. (Dances of the Young Girls).

The men join in the dance and invoke the future according to the rites.

(Mock Abuction).

The Sage among all the Ancestors, or Elders, participates in the glorifi-

cation of the Spring.

All are made one with the abundant and rich Earth.

Everyone tramples the Earth with ecstasy. (Dance of the Earth).

Part II. The Sacrifice After the day, after midnight. On the hills are the consecrated stones.

The young girls carry out the mystical games and look for the Great Path.

(Mystic Circle of the Young Girls).

They glorify, they exalt the maiden who is designated to be the chosen

one of the god. (Glorification of the Chosen One).

They call the Ancestors, venerated witnesses. And the wise Ancestors

of Men contemplate the Sacrifice.

It is thus they scrifice to Yarilo, the magnificent, the flaming.

(Sacrificial Dance).

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B A L L E T N O T E S As a member of Sergei Diaghilev’s Ballets Russes, Vaslav Nijinsky (1890-1950), was one of the greatest dancers of the 20th century. He was also an in-novative choreographer. The Rite of Spring [Le Sacre du Printemps] gave him the opportunity to revolutionize dance, stimulated by his close collaborators Igor Stravinsky the composer and Nicholas Roerich the scenarist and designer. All three felt a desire to continue breaking free from prevailing classical ballet and were intrigued to evoke the primitive soul of their native Russia, returning to the colorful peasant costumes and the vast stony regions of the Slavic north.

In his music, Stravinsky captured the first moment of the Russian Spring, which, as he said, was like the whole world suddenly cracking. Roerich and Stravinsky conceived a pagan rite involving elders of a tribe watching the annual fertility ritual, where a young girl dances herself to death. As the work was real-ized, it became a ballet completely apart from the norm of their day.

The body movements that Nijinsky devised were so unfamiliar to the classi-cally trained dancers that many of them rebelled against the steps he required. But he stood firm. Stravinsky’s polyrhythms were monumentally difficult. Diaghilev asked a pupil of Émil Jaques-Dalcroze (founder of the music study system Eurhythmics) to assist Nijinsky with the score for the corps de ballet. Her name was Marie Rambert (she would later direct the Ballet Rambert in London).

Nijinsky created the role of the Chosen One in The Rite of Spring for his sis-ter, Bronislava, who became pregnant and could not perform. She was replaced by Maria Plitz, who danced the role to acclaim.

By the final rehearsals, most of the dancers believed in the ballet, though everyone, including Diaghilev, was anxious about the potential audience reac-tion to the new work. In fact, at the premiere in Paris in 1913, pandemonium broke out in the theater, with audience members howling, whistling, and catcall-ing in response to the violent fertility rite, drowning out the music and fighting in the aisles. There was chaos at the Théâtre des Champs-Élysées and the ensu-ing riot has become legend.

The Rite of Spring nevertheless made a profound impression, considered by many to be the tumultuous birth of modernism in ballet. Stravinsky’s score is a staple in the repertoire of the world’s great orchestras. And more than two-hun-dred choreographers have since created their own takes on the score.

Only Joffrey’s The Rite of Spring, however, turned legend back into artifact. It was meticulously researched and reconstructed by Millicent Hodson and Ken-neth Archer and is recognized internationally as the closest possible version of Nijinsky’s original. Premiered in 1987, the reconstruction is a testimony to the ardent desire of Robert Joffrey and Gerald Arpino to revive rare classics — which the company still presents with great care, allowing audiences to experience the defining treasures of ballet.

The Joffrey Ballet


THE DANCERS

Part IAn Old Woman of 300 Years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Erica Lynette Edwards

The Young People . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Guillaume Basso, Raul Casasola,

Aaron Rogers, Lucas Segovia, Shane Urton

The Youths . . . . . . . . . . . . . .Matthew Adamczyk, Derrick Agnoletti, John Mark Giragosian,

Graham Maverick, Aaron Smyth, Alberto Velazquez

The Young Men . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Yoshihisa Arai, Oğulcan Borova,

Fabrice Calmels, Dylan Gutierrez, Rory Hohenstein

The Maidens in Red . . . . . . . . . . . . . . . . . . . . . . . . . . April Daly, Dara Holmes, Christine Rocas,

Mahallia Ward, Jenny Winton, Kara Zimmerman

Small Maidens in Red . . . . . . . . . . . . . Yumelia Garcia, Elizabeth Hansen, Anastacia Holden

The Women in Blue . . . . . . . . . . . Amanda Assucena, Cara Marie Gary, Jeraldine Mendoza,

Jacqueline Moscicke, Amber Neumann

The Tall Women in Mauve . . . . . . . . . . . . . . . . . Victoria Jaiani, Caitlin Meighan, Alexis Polito

An Old Sage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gerard Charles

The Elders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elivelton das Gracas, Temur Suluashvili

Part IIThe Chosen One . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joanna Wozniak [Saturday evening]

Elizabeth Hansen [Sunday evening]

The Young Maidens . . . . . . . . . . . . . . . . April Daly, Erica Lynette Edwards, Cara Marie Gary,

Anastacia Holden, Dara Holmes, Jeraldine Mendoza,

Jacqueline Moscicke, Alexis Polito, Christine Rocas,

Mahallia Ward, Jenny Winton, Kara Zimmerman

The Ancestors in Bearskins . . . . . . Yoshihisa Arai, Matthew Adamczyk, Guillaume Basso,

Fabrice Calmels, Dylan Gutierrez, Rory Hohenstein

The Ancestors . . . . . . . . . . . . . . . . . . . . . . . Derrick Agnoletti, Oğulcan Borova, Raul Casasola,

John Mark Giragosian, Elivelton das Gracas, Graham Maverick,

Aaron Rogers, Lucas Segovia, Aaron Smyth,

Temur Suluashvili, Shane Urton, Alberto Velazquez

The Joffrey Ballet

World Premiere: May 29, 1913, Théâtre des Champs-Élysées, Paris

Premiere of the Reconstructed Version: September 30, 1987, Los Angeles


Reconstructed choreography © 1987 Millicent HodsonReconstructed designs © 1987 Kenneth Archer

Orchestration performed by arrangement with Boosey & Hawkes.

The 1987 Joffrey Ballet production was made possible, in part, by grants to the company and to Millicent

Hodson from the National Endowment for the Arts, L.J. Skaggs and Mary C. Skaggs Foundation, and the New York State Council on the Arts, and to Kenneth Archer from the Indian Council for Cultural Relations. Costumes were made possible, in part, by a gift from the Los Angeles Friends of The Joffrey Ballet.

20 The Cleveland OrchestraOrchestra News

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Orchestra NewsNews

The Cleveland Orchestra and Music Director Franz Welser-Möst’s live record-ing of Bruckner’s Symphony No. 4, made available on DVD in the United States at the end of April, is receiving wide acclaim in reviews from around the world. The performance was filmed in 2012

at the beautiful 17th-century baroque Abbey of St. Florian in Austria. Emmy Award-win-ner Brian Large directed the video recording. This is the first video produced of the recent critical edition of the 1888 version of Bruckner’s Fourth Symphony, edited by Benjamin Korstvedt and published in 2004 as part of the Bruckner Collected Works edition.

Reviews include: “How does one approach Anton Bruckner and his exuberant Fourth Sym-phony distinctively? Franz Welser-Möst and his fellow Clevelanders accomplished it. And in such a way!” —Vienna Zei-tung, June 2013 “A great orchestra, a Bruckner ex-pert. . . . Five out of five stars.” —Kurier (Austria), May 2013 “In St. Florian, Franz Welser-Möst and The Cleveland Orchestra breathed new life into this version. A glorious con-cert.” —Die Presse (Austria), May 2013 Clasart produced the recording, which is being distributed by Arthaus and Naxos. The Cleveland Orchestra’s long-term partnership with Clasart has result-ed in five Bruckner DVDs to date. Found-ed in Munich in 1977, Clasart is part of the Tele München Group. The Cleveland Orchestra extends special thanks to Raif-feisenlandesbank Oberösterreich and Tele München Group for their ongoing support for electronic media projects.

Orchestra’s newest DVD recording of Bruckner 4th receiving strong reviews

I .N M.E .M.O.R. I .A .M The Cleveland Orchestra notes the death on July 25 of retired Orchestra tuba player Ronald Bishop. He served as principal tuba of The Cleveland Orchestra for 38years, 1967-2005. Ron was born in Rochester, New York, and earned a bachelor of music degree and performer’s cer-tificate from the Eastman School of Music and a master of science degree from the University of Illinois. In addition to his role as principal tuba, Ron performed as a soloist with The Cleveland Orchestra on many occa-sions, and performed in recitals and gave masterclasses throughout the world. He inspired generations of students as a fac-ulty member of the Cleveland Institute of Music and the Oberlin Conservatory of Music. He was also an avid supporter and performer with Performers and Art-ists for Nuclear Disarmament. Ron’s artistry, humanity, and sense of humor were priceless, and will be missed. The entire Orchestra family extends its condolences to Ron’s wife, Marie, and to all his family and friends. With this weekend’s performances of Stravinsky’s The Rite of Spring, we especially remember Ron’s particular love of this great work — and of his playing in the two recordings with The Cleveland Orchestra under the direction of Pierre Boulez, including the Grammy-winning 1969 version. A second Gram-my-winning album also stands testament to Ron’s collaborative artistry — Antiph-onal Music of Gabrieli, recorded in 1969 featuring members of the brass sections of the orchestras of Cleveland, Chicago, and Philadelphia. Ron, we’ll miss you, but your legacy lives on.

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“The trouble with music appreciation in general is that

people are taught to have too much respect for music.

They should be taught to love it instead.”

—Igor Stravinsky

22 The Cleveland Orchestra

Concert SponsorsThe Cleveland Orchestra gratefully acknowledges the generous organizations listed here, whose

leadership in sponsoring our concerts makes possible each summer’s Blossom Music Festival.

BakerHostetlerBlossom Women’s CommitteeEatonThe Goodyear Tire & Rubber CompanyHyster-Yale Materials Handling, Inc.Jones DayLittler Mendelson, P.C.Medical Mutual of OhioOlympic SteelPark-Ohio Holdings CorporationPNCThe J.M. Smucker Company

Supporting FoundationsThe Blossom Music Festival benefits from generous support from these foundations, enabling The Cleve-

land Orchestra to continue delivering world-class performances to the Northeast Ohio community through-

out the summer months. The Orchestra gratefully acknowledges the following foundations for their support.

Lawrence A. Appley Foundation Glenn R. and Alice V. Boggess Memorial FoundationThe Mary S. and David C. Corbin FoundationMary and Dr. George L. Demetros Charitable Trust FirstEnergy FoundationGAR Foundation Ann and Gordon Getty FoundationJohn S. and James L. Knight Foundation The Lehner Family FoundationLaura R. and Lucian Q. Moffitt Foundation The Margaret Clark Morgan Foundation Polsky Fund of Akron Community Foundation The Charles E. and Mabel M. Ritchie Memorial Foundation The Sisler McFawn Foundation Lloyd L. and Louise K. Smith Memorial Foundation Welty Family Foundation


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City Ballet of Cleveland(formerly Cleveland City Dance Company)

Holding Auditions for

Uniquely Cleveland Nutcracker Sat. September 14

13108 Shaker SquareCleveland, OH 44120216.295.2222

Performances are Saturday December 7 Sunday December 8

This production is partially fundedby Cuyahoga Arts & Culture and the Ohio Arts Council

Gifts to University Hospitals

continue the legacy of giving from

generation to generation – enabling us

to live our mission every day:

To Heal – enhancing patient care,

experience and access

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of physicians and scientists

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innovations and clinical research

And with your support, we’ll continue to provide the

same high-quality care that we have for nearly 150 yearss.

Join the many who are making a difference. To learn more,

contact our gift planning team at 216-983-2200 or visit UHgiving.org.

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blossom festival, august 17-18, 2013 concerts

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