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Exciting Premiere! Anna Karenina

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Heather Ogden. Photo by Karolina Kuras.

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Anna KareninaA Ballet by John NeumeierInspired by Leo Tolstoy

North American Premiere

November 10 – 18, 2018Tolstoy’s great prose masterwork towers over the western literary canon as one of the most fully imagined and riveting works of fiction ever written. It is no wonder that John Neumeier, one of the most frequent and fearless adapters of literary works into modern choreographic form, should have eventually taken on the challenge of the great Russian novel.

Using the book more as an inspiration than as a strict narrative template, Neumeier chooses to adapt the work freely. He sets the story, for instance, in the present day, rather than the 19th century, and structures his ballet in two acts with numerous scene changes, condensing the material and focusing on its key themes, which he allows to merge through an intuitive and poetic rather than a literal process.

Music by Tchaikovsky provides a link with the Tolstoyan world of the novel, but Neumeier also incorporates modern work by Alfred Schnittke and Cat Stevens/Yusuf Islam to further underscore the central characters’ conflicts and emotional lives. The work of a great literary artist meeting the imagination of a great interpretive choreographer, Anna Karenina is an unforgettable ballet experience.

Anna Karenina A Ballet by John Neumeier Inspired by Leo Tolstoy Choreography, Sets, Costumes and Lighting Concept: John Neumeier Music: Pyotr Ilyich Tchaikovsky, Alfred Schnittke, Cat Stevens/Yusuf Islam Anna Karenina Costumes: AKRIS, Albert Kriemler Scenic Design Collaborator: Heinrich Tröger

Anna Karenina is a co-production between The National Ballet of Canada, The Hamburg Ballet and The Bolshoi Ballet.

Lead philanthropic support for Anna Karenina is generously provided by The Walter Carsen New Creations Fund, Richard M. Ivey, C.C., Rosamond Ivey and Tim & Frances Price with additional support from The Producers’ Circle and Warren Sorensen in memory of Gregory Williams.

The Producers’ Circle: Gail & Mark Appel, John & Claudine Bailey, Inger Bartlett & Marshal Stearns, Gail Drummond & Bob Dorrance, The Thor E. and Nicole Eaton Family Charitable Foundation, Sandra Faire & Ivan Fecan, Kevin & Roger Garland, Ira Gluskin & Maxine Granovsky Gluskin, The William & Nona Heaslip Foundation, Hal Jackman Foundation, Anna McCowan-Johnson & Donald K. Johnson, O.C., Judy Korthals & Peter Irwin, Judith & Robert Lawrie, Mona & Harvey Levenstein, Jerry & Joan 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. and Gerald Sheff & Shanitha Kachan.

Anna Laudere and Edvin Revazovin of The Hamburg Ballet. Photo by Kiran West.

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The DreamBeing and Nothingness

Frederick Ashton’s The Dream, based on Shakespeare’s A Midsummer Night’s Dream, is one of the most universally admired and artistically satisfying of all ballet adaptations of the playwright’s work. Using Felix Mendelssohn’s beloved music, arranged by John Lanchbery, Ashton’s version of the play is a miracle of dramatic concision, giving us the familiar characters of Titania and Oberon, the four confused lovers, Puck and the rude mechanicals in a taut but lyrical one-act re-imagining of the story set in Victorian times. Ashton’s vibrant, moonlit choreography is seamlessly integrated with every magical shift in the narrative’s mood.

National Ballet Principal Dancer Guillaume Côté has always brought to the many roles he has performed an unstinting spirit of passionate exploration and emotional honesty. As a Choreographic Associate with the company, those same principles apply. In Being and Nothingness from 2015, he finds in his source material, Jean-Paul Sartre’s landmark philosophical work of the same name, questions of freedom, the nature of selfhood and the meaning of existence and illuminates those abstract ideas in his highly expressive, richly physical choreographic style.

November 21 – 25, 2018

Lead philanthropic support for Being and Nothingness is provided by an anonymous friend of the National Ballet, The Volunteer Committee of The National Ballet of Canada and The Producers’ Circle.

Greta Hodgkinson with Artists of the Ballet in The Dream. Photo by Lydia Pawelak.

The Dream Choreography: Frederick Ashton Music: Felix Mendelssohn Overture and Incidental Arrangement: John Lanchbery Scenery and Costume Design: David Walker Lighting Design: Thomas Saunders after The Royal Ballet design

Being and Nothingness Choreography: Guillaume Côté Music: Philip Glass Set Design: Michael Levine Costume Design: Krista Dowson Lighting Design: David Finn

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The Nutcracker

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James Kudelka’s ravishing and gloriously re-imagined version of the evergreen Christmas spectacular was created for The National Ballet of Canada in 1995 and it remains an unparalleled holiday entertainment for both children and adults. Replete with Kudelka’s signature dynamic and exuberant choreography and gliding with wonderful ease from whimsical and often boisterous comedy to breathtaking spectacle and touching emotion, the ballet is a feast for both the senses and the imagination.

In Kudelka’s adaptation, E.T.A. Hoffmann’s original tale is re-situated in rural 19th-century Russia, a world in which nature and the rituals of farm life are harmoniously and organically entwined. The story centres on a brother and sister, Misha and Marie, and their Christmas Eve dream journey which carries them from their family home through a world of wonders to the glittering winter realm of the Snow Queen and finally to the splendour of the palace of the Sugar Plum Fairy.

Santo Loquasto’s beautifully evocative sets and costumes combine perfectly with the enchantment of Tchaikovsky’s sumptuous score to complete a genuinely magical Christmas experience for ballet lovers of all ages.

December 8 – 30, 2018

The Nutcracker 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 & Ann Heisey and an anonymous friend of the National Ballet.

Tanya Howard. Photo by Karolina Kuras.

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ApolloPaquita The Sea Above, The Sky Below

George Balanchine’s Apollo is one of the signal moments in both the choreographer’s oeuvre and in the legacy of cultural modernism. The famous collaboration between Balanchine and Igor Stravinsky produced some of ballet’s most legendary works, and perhaps none was as groundbreaking nor realized their aims of a neo-classical art form, as this 1928 ballet. The work almost singlehandedly established a new aesthetic that brought the language of classical ballet into a modern context, merging the past with the future in a way that would alter our conception of ballet forever.

An unabashed celebration of ballet’s virtuosic possibilities, Paquita revels in the dazzling panache, colour and period exoticism of 19th-century classicism. Originally created in 1846, but today performed in Marius Petipa’s version from 1881, the ballet—ostensibly a perfunctory story of a young gypsy girl who is really of royal birth—is less about narrative concerns than it is a breathtaking example of technique raised to the level of spectacle.

The National Ballet of Canada’s Choreographic Associate Robert Binet has shown himself to be one of Canada’s most inventive and thoughtful dancemakers, an artist of wonderfully original physical imagination and thematic boldness. The Sea Above, The Sky Below is a captivatingly intricate pas de trois that captivated audiences when it was performed the MAD HOT BALLET Gala in 2017.

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

Guillaume Côté and Xiao Nan Yu with Artists of the Ballet in Apollo. Photo by Cylla von Tiedemann.

March 1 – 3 & March 20 – 21, 2019

Apollo Choreography: George Balanchine Music: Igor Stravinsky, Apollon Musagète Lighting Design: Robert Thomson

Paquita Choreography: Christopher Stowell, after Marius Petipa Music: Ludwig Minkus and Riccardo Drigo, orchestrated by John Lanchbery Set and Costume Design: José Varona Lighting Design: Robert Thomson

The Sea Above, The Sky Below Choreography: Robert Binet Music: Gustav Mahler, Symphony No. 5, 4th Movement, Adagietto Costume Design: Erdem Moralioglu Lighting Design: Jeff Logue

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Alice’s Adventures in Wonderland Few books of any kind are as unique and have left such an imprint on culture as

Lewis Carroll’s Alice’s Adventures in Wonderland. Beneath its surface blend of fantasy, nonsense, outlandish characters and a vivid dreamworld—an irresistible blend, especially for children—the book has a subterranean reach extending into the realms of philosophy, language, psychology and even mathematics. This has always made it an attractive text for other creative artists and choreographers are no exception.

The renowned British choreographer Christopher Wheeldon has brought his distinctive and imaginative sensibility to Carroll’s inimitable tale and created a ballet like no other. Merging his trademark neo-classical style with the wild variety of movement afforded by Carroll’s characters, Wheeldon, along with composer Joby Talbot and set and costume wizard Bob Crowley, has shaped a visual and choreographic extravaganza that appeals to both children and adults. Lavish, startling, hilarious and boldly original, Alice’s Adventures in Wonderland is a theatrical celebration of the liberating power of one of the great texts of childhood—and of all time.

March 7 – 17, 2019

Alice’s Adventures in Wonderland Choreography: Christopher Wheeldon Music: Joby Talbot Orchestrated by: Christopher Austin and Joby Talbot Scenario: Nicholas Wright Set and Costume Design: Bob Crowley Lighting Design: Natasha Katz Projection Design: Jon Driscoll and Gemma Carrington Sound Design: Andrew Bruce for Autograph Assistant to the Choreographer: Jacquelin Barrett

A Co-Production of The National Ballet of Canada and The Royal Ballet (UK).

Lead philanthropic support for Alice’s Adventures in Wonderland is provided by an anonymous friend of the National Ballet with additional support generously provided by The Catherine and Maxwell Meighen Foundation, Richard M. Ivey, C.C., Rosamond Ivey, Robert & Judith Lawrie and Wallace McCain & Margaret McCain, C.C.

Jillian Vanstone and Dylan Tedaldi. Photo by Bruce Zinger.

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The Thirteenth International Competition for The Erik Bruhn Prize

Few male dancers in the 20th century had the kind of impact on the art of ballet as did Erik Bruhn. His connection with The National Ballet of Canada was a long and fruitful one, culminating in his Artistic Directorship of the company from 1983 until his death in 1986.

One of his most revered legacies is The Erik Bruhn Prize, which he created to honour two young dancers, one male and one female, who “reflect such technical ability, artistic achievement and dedication as I endeavoured to bring to dance.” In 2009, a Choreographic Prize was added to the event to honour the best piece of new choreography commissioned for the competition.

First held in 1988, The International Competition for The Erik Bruhn Prize has showcased the talents of some of the best young dancers from the finest ballet companies in the world. The competitors from each company are between the ages of 18 and 23 and perform in a classical pas de deux and variations and a new contemporary pas de deux or solo work. The Erik Bruhn Prize gives audiences the chance to see some of the most exceptional young ballet talent in the world on one stage for a glorious and thrilling evening of dance.

March 23, 2019

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

Erik Bruhn (1970). Photo by Michael Avedon.

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Physical ThinkingWilliam Forsythe Programme

However you choose to see William Forsythe—willful provocateur, poet of the anti-ballet, master of anarchic beauty—there is no doubt that he has extended the reach and possibility of modern dance as few other contemporary choreographers have done. The three works that compose this programme exemplify the extraordinary range and flavour of his work.

The Vertiginous Thrill of Exactitude is a short, but fiercely demanding work created by the choreographer in 1996 for his Ballet Frankfurt company. Set to the final movement of Schubert’s Ninth Symphony, it demonstrates, as the title suggests, the bracing excitement of pure classical technique, its rigour, focus and speed, and functions as an homage to traditional classical and neo-classical form as perfected by Petipa and Balanchine. Approximate Sonata 2016 is more subdued Forsythe, a reflective, if no less vigorously athletic, assemblage of intricately shaped and continually surprising pas de deux, set to a hushed, minimalist piano score by Thom Willems. The Second Detail, an astonishing work that was created for The National Ballet of Canada in 1991, is in many ways quintessential Forsythe—slyly mischievous, athletic and, above all, exhilarating in its love of human movement in all its variety.

June 1 – 8, 2019

The Vertiginous Thrill of Exactitude Company Premiere Choreography: William Forsythe Music: Franz Schubert, Allegro Vivace from Symphony No. 9 in C-Major, D944 Set and Lighting Design: William Forsythe Costume Design: Stephen Galloway

Approximate Sonata 2016 Company Premiere Choreography: William Forsythe Music: Thom Willems Costume Design: Stephen Galloway

The Second Detail Choreography: William Forsythe Music: Thom Willems Costume, Set and Lighting Design: William Forsythe White Dress: Issey Miyake

The Vertiginous Thrill of Exactitude and Approximate Sonata 2016 are generously supported by The Producers’ Circle. The Second Detail is a gift from The Volunteer Committee, The National Ballet of Canada.

Sonia Rodriguez with Artists of the Ballet in The Second Detail. Photo by Cylla von Tiedemann.

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The Merry Widow

A frothy blend of whimsical comedy, romance and the delights of the Parisian Belle Époque in all its effervescent splendor, The Merry Widow is popular ballet at its finest. Based on the 1905 operetta of the same name by Franz Lehár, The Merry Widow sets out to entertain and amuse at every step and never puts a foot wrong.

The story imagines a fictional Balkan principality, Pontevedro, which is on the brink of economic disaster. In an effort to prevent certain ruin, a charming but raffish Pontevedrian aristocrat, Count Danilo, is persuaded to woo and marry a rich and sophisticated widow, Hanna Glawari, before she can marry a foreigner. Amid the inevitable plot complications and madcap misunderstandings, we learn that Danilo and Hanna had been childhood sweethearts, before Danilo abandoned Hanna, who was then an innocent peasant girl.

Playful and insouciant, comically buoyant and a perennial crowd-pleaser, The Merry Widow was premiered by The Australian Ballet in 1974 with the role of Hanna danced by the great Dame Margot Fonteyn. It entered the repertoire of The National Ballet of Canada in 1986.

June 19 – 23, 2019

The Merry Widow Choreography: Ronald Hynd Music: Franz Lehár Scenario: Sir Robert Helpmann Musical Adaptation: John Lanchbery Set and Costume Design: Desmond Heeley Lighting Design: Michael J. Whitfield

The Merry Widow entered the repertoire through the generosity of The Volunteer Committee, The National Ballet of Canada, joined by the Rotary Club of Toronto.

Xiao Nan Yu. Photo by Cylla von Teidemann.

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All performances take place at the Four Seasons Centre for the Performing Arts located at 145 Queen Street West (at University Avenue).

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Evan McKie. Photo by Karolina Kuras.

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Elena Lobsanova. Photo by Karolina Kuras.

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PerformanceWednesday

Evening 7:30 pm

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Anna Karenina Nov 14 Nov 15 Nov 16 Nov 17 Nov 10 Nov 11

The Dream Nov 21 Nov 22 Nov 23 Nov 24 Nov 24 Nov 25

Apollo Mar 20 Mar 21 Mar 01 Mar 02 Mar 02 Mar 03

Alice Mar 13 Mar 07 Mar 08 Mar 09 Mar 09 Mar 10

Physical Thinking Jun 05 Jun 06 Jun 07 Jun 08 Jun 01 Jun 02

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All subscription prices include HST and service charges. No additional charges will be added. Savings are calculated from the regular single ticket price. Greta Hodgkinson. Photo by Karolina Kuras.

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Four Seasons Centre for the Performing Arts 145 Queen Street West (at University Avenue)

Naoya Ebe. Photo by Karolina Kuras.

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Monday Tuesday Wednesday Thursday Friday Saturday Sunday

5 6 7 8 9 10 Anna Karenina

7:30 pm

11 Anna Karenina

2:00 pm

12 13 Anna Karenina

7:30 pm

14 Anna Karenina

7:30 pm

15 Anna Karenina

2:00 pm7:30 pm

16 Anna Karenina

7:30 pm

17 Anna Karenina

2:00 pm7:30 pm

18 Anna Karenina

2:00 pm

19 20 21 The Dream

7:30 pm

22 The Dream

2:00 pm7:30 pm

23 The Dream

7:30 pm

24 The Dream

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25 The Dream

2:00 pm


3 4 5 6 7 8 Nutcracker

2:00 pm7:00 pm

9 Nutcracker

1:00 pm5:30 pm

10 11 12 Nutcracker

7:00 pm

13 Nutcracker

7:00 pm

14 Nutcracker

7:00 pm

15 Nutcracker

2:00 pm7:00 pm

16 Nutcracker

1:00 pm5:30 pm

17 18 Nutcracker

7:00 pm

19 Nutcracker

7:00 pm

20 Nutcracker

7:00 pm

21 Nutcracker

7:00 pm

22 Nutcracker

2:00 pm7:00 pm

23 Nutcracker

1:00 pm5:30 pm

24 25 26 27 Nutcracker

1:00 pm5:30 pm

28 Nutcracker

7:00 pm

29 Nutcracker

2:00 pm7:00 pm

30 Nutcracker

1:00 pm5:30 pm

Fall Season November 2018

Holiday Season December 2018


1 Apollo

7:30 pm

2 Apollo

2:00 pm 7:30 pm

3 Apollo

2:00 pm

4 5 6 7 Alice

7:30 pm

8 Alice

7:30 pm

9 Alice

2:00 pm7:30 pm

10 Alice

2:00 pm7:30 pm

11 12 Alice

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13 Alice

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14 Alice

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15 Alice

7:30 pm

16 Alice

2:00 pm7:30 pm

17 Alice

2:00 pm

18 19 20 Apollo

7:30 pm

21 Apollo

2:00 pm7:30 pm

22 23 Bruhn

7:30 pm

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1 Physical Thinking

7:30 pm

2 Physical Thinking

2:00 pm

3 4 5 Physical Thinking

7:30 pm

6 Physical Thinking

7:30 pm

7 Physical Thinking

7:30 pm

8 Physical Thinking

2:00 pm

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10 11 12 Gala

6:30 pm

13 14 15 16

17 18 19 Merry Widow

7:30 pm

20 Merry Widow

2:00 pm7:30 pm

21 Merry Widow

7:30 pm

22 Merry Widow

2:00 pm7:30 pm

23 Merry Widow

2:00 pm

Winter Season March 2019

Summer Season June 2019

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Emma Hawes. Photo by Aleksandar Antonijevic.

Guillaume Côté.

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TD Bank Group presents The Nutcracker and

Nutcracker Story Time

RBC Apprentice Programme

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The National Ballet of Canada gratefully acknowledges the support of the following:

We acknowledge the support of the Canada Council for the Arts, which last year invested $153 million to bring the arts to Canadians throughout the country.

Nous remercions le Conseil des arts du Canada de son soutien. L’an dernier, le Conseil a investi 153 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays.

We acknowledge the financial support of the Government of Canada through the Department of Canadian Heritage via the Endowment Incentives component of the Canada Cultural Investment Fund.

The Volunteer Committee, The National Ballet of Canada

The Government of Ontario through the Honourable Eleanor McMahon, Minister of Tourism, Culture and Sport.

The National Ballet of Canada gratefully acknowledges the generous contribution of our partners who support Canadian culture and continued excellence in dance.

MAD HOT BALLET Gala Lead Sponsor

Thank You!

Harrison James. Front Cover: Xiao Nan Yu. Cover photos by Karolina Kuras.

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Audience and Donor Services

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national.ballet.ca

Fall Season

North American Premiere

Anna Karenina A Ballet by John Neumeier

The Dream& Being and Nothingness

Holiday Season

The Nutcracker

Winter Season

Apollo & Paquita & The Sea Above, The Sky Below

Alice’s Adventuresin Wonderland

The Thirteenth International Competition for The Erik Bruhn Prize

Summer Season

Physical ThinkingWilliam Forsythe Programme

The Merry Widow

exciting - national.ballet.ca · presents anna karenina a ballet by john neumeier inspired by leo...

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