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20 & 21 November 2015FESTIVAL THEATRE

ASO at the Ballet

2 ADELAIDE SYMPHONY ORCHESTRA - SHOWCASE SERIES

Adelaide’s No.1

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3ADELAIDE SYMPHONY ORCHESTRA - SHOWCASE SERIES

Prokofiev Cinderella: Duet of the Sisters with Oranges

Cinderella: Duet of the Prince and CinderellaChoreography: Dale BakerDancers: Aya Watanabe, Mason Lovegrove

Cinderella: Waltz

Cinderella: Midnight

Minkus Don Quixote: Basilio’s Variation Choreography: after PetipaDancer: Seu Kim

Adam Le Corsaire: Variation (The Bazaar)Choreography: after PetipaDancer: Miyako Tamamura

Ravel La valse

Tchaikovsky The Nutcracker: Opening Act II

The Nutcracker: Chinese Dance Choreography: Leigh RowlesDancers: Miyako Tamamura, Aya Watanabe, Seu Kim

The Nutcracker: Danse russe trepak

The Nutcracker: Pas de deuxChoreography: after Petipa / IvanovDancers: Montana Rubin, Mason Lovegrove

20 & 21 November, Festival Theatre

ASO at the Ballet Showcase Series 3

Interval

Marc Taddei ConductorDancers from The Australian Ballet School

All staged works by Dale Baker and Joanne MichelAdelaide’s No.1

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Tchaikovsky Sleeping Beauty: Introduction

Sleeping Beauty: Bluebird Pas de deuxChoreography: after PetipaDancers: Miyako Tamamura, Seu Kim

Sleeping Beauty: Pas de deuxChoreography: after PetipaDancers: Montana Rubin, Yipeng Xu

Sleeping Beauty: Waltz

Tchaikovsky Swan Lake: Mazurka

Swan Lake: Spanish DanceChoreography: after PetipaDancers: Montana Rubin, Mason Lovegrove

Swan Lake: Neapolitan DanceChoreography: after PetipaDancers: Miyako Tamamura, Seu Kim

Swan Lake: Black Swan Pas de deuxChoreography: after Petipa / IvanovDancers: Aya Watanabe, Yipeng Xu

Swan Lake: Waltz

ASO at the Ballet Showcase Series 3

continued


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ACCESSALL AREAS


The Advertiser gets you closer to the Adelaide Symphony Orchestra than ever before. More features. More interviews. More exclusive experiences.

The Advertiser. Proud sponsor of the arts in South Australia.

ACCESSALL AREAS

Marc Taddei conductor

Marc Taddei was appointed Music Director of Orchestra Wellington in 2007. His work in Wellington follows a highly successful tenure as music director of the Christchurch Symphony Orchestra.

He is a frequent guest conductor of every professional orchestra in New Zealand, and has worked over many years with the national ballet and opera companies and the New Zealand International Arts Festival. He recently conducted the premiere of Jenny McLeod’s Hohepa with NBR New Zealand Opera.

Marc Taddei has conducted the Sydney, Melbourne, Queensland, Tasmanian and Adelaide Symphony Orchestras, Orchestra Victoria, the New Zealand Symphony Orchestra, Auckland Philharmonia Orchestra and the Silesian State Opera in the Czech Republic. In the United States he has conducted the Richmond Symphony, Louisiana Philharmonic Orchestra, Oregon Symphony, Fort Worth Symphony Orchestra, New Haven Symphony Orchestra, Eugene Symphony and the Southwest Florida Symphony. His debut with New York City Ballet led to an engagement with the company for three Balanchine ballets the following year. Last year he made his

mainland China debut, and earlier this year made his debut with the Hong Kong Philharmonic Orchestra.

Marc Taddei has worked with artists such as Dame Kiri Te Kanawa, Anne Sofie von Otter, Julian Lloyd Webber, Horacio Gutiérrez, Simon O’Neill, Jonathan Lemalu, Joshua Redman and James Morrison, among many others. His discography consists of nearly 30 recordings, including his most recent release, Gillian Whitehead’s Alice with the New Zealand Symphony Orchestra.

Marc Taddei is a graduate of The Juilliard School, where he received bachelor’s and master’s degrees before moving to New Zealand. He divides his time between Auckland, Wellington and San Francisco.


With the Adelaide Festival Centre on our doorstep, Riverside Restaurant is an ideal location to dine and gather with friends before the show. Indulge with our seasonal a la carte menu featuring the freshest produce from local sources complimented by a wide range of regional and international wines.

Bookings and information phone Riverside Restaurant on 08 8238 2384 visit icadelaide.com.au

BEFORE THE SHOW,RELAX AT RIVERSIDERESTAURANT.


The Australian Ballet School As Australia’s national centre for elite vocational classical dance and the school of The Australian Ballet, we aspire to be at the forefront, internationally, as providers of a unique, professional dance training programme that: produces dancers with a distinctive Australian style; balances technique and artistry with educational needs and holistic care; trains teachers and develops the artistic leaders of the future and advances the art of ballet.

The Australian Ballet School will continue to produce dancers of the highest calibre for our parent company, The Australian Ballet and companies around the world. Our aim is to balance the rigorous demands of professional training with a creative, caring and challenging environment where excellence can flourish.

Our environment is conducive to producing artistic, educated and outstanding dancers of the highest international standard. We aim to nurture young talent so that every provision is made for the best to be the best – to guide students to develop into well-balanced human beings, with a strong ethical sense – well fed in body, mind and spirit.

The School’s mission is to Honour the past, Achieve in the present, Create the future.

The Australian Ballet School is thrilled to be collaborating with the Adelaide Symphony Orchestra. As the national school we strive to present the School to a national audience and also give students the opportunity to experience touring in preparation for the time when they will be working as professional dancers. Our students are lucky to train with live piano accompaniment on a daily basis but it is a special opportunity for them to perform with a respected orchestra such as the ASO. I am looking forward to what will be two memorable nights when the unique chemistry of music and classical dance come together.

Lisa Pavane, Director, The Australian Ballet School


Dale Baker Joanne Michel Ballet Master, Graduate Year CoordinatorDale Baker graduated from The Australian Ballet School in 1972, joining The Australian Ballet the following year. In 1977, he danced with the Royal Ballet, Covent Garden, as a soloist and on his return to The Australian Ballet in 1978, was promoted to Principal Artist.

Dale has danced as Principal with the San Francisco Ballet and the Zurich Ballet and he has performed the works of all the major choreographers of the 20th century, from the classics to the contemporary including Don Quixote, Coppélia, The Sleeping Beauty, Swan Lake, Raymonda, Gemini, Spartacus, Beyond Twelve, The Concert, Suite en Blanc and Les Sylphides. He has appeared as a guest artist in England, Europe, USA, Canada and South Africa.

An injury while performing in the musical Cats saw him move into teaching. He has taught at the Victorian College of the Arts, the National Theatre Ballet School, the Royal New Zealand Ballet and the New Zealand School of Dance. Dale joined The Australian Ballet School in 1997.

Ballet Mistress, Classical TeacherJoanne Michel began her ballet training at the age of four with Katerina Druzins followed by the Bryan Lawrence School of Ballet and The Australian Ballet School. Joanne was offered a place with The Australian Ballet Company in 1977.

Joanne was promoted to Soloist in 1980 and was chosen to dance her first principal role as the Swan Queen in Swan Lake opposite Alexander Godunov. Having been promoted to the rank of Principal Artist, she danced the lead roles in Onegin, Romeo and Juliet, The Sleeping Beauty, Swan Lake, Giselle, The Nutcracker, La Sylphide, Don Quixote, Coppélia, La Fille Mal Gardée and many 20th century contemporary and classical works.

Joanne travelled overseas in 1986 to work with the Nederlands Dans Theater under choreographer/director Jiri Kylián. Returning to Australia, she performed in a special Gala performance of The Nutcracker in honour of Dame Margaret Scott and in choreographer Robert Ray’s Melbourne Dance Theatre projects. Joanne joined the staff of The Australian Ballet School in 2003.


Mason Lovegrove Seu Kim

Mason first experienced dance after surviving serious illness as a young child and undertaking music and dance based physiotherapy. He later took his first “real” dance class in Mittagong, NSW, which eventually lead to him being accepted into The Australian Ballet School ten years later. At the age of 13, Mason moved away from his family to attend The Australian Ballet School in Melbourne, and during that time was provided with many great experiences, such as performing Jirí Kylián’s Evening Songs and Paul Knobloch’s Valetta, as well as touring with the Dancers Company in 2014.

Awards:2014 National Ballet School of Canada Student Exchange

Seu, a Korean national was born in Japan and started ballet at aged six. Seu studied many dance styles at CJG Ballet Studio, Japan. Seu competed at the Youth America Grand Prix 2012 and 2013 and received a scholarship to study at The Australian Ballet School. You may not know: Seu speaks fluent Korean, Japanese and English and in his spare time explores Melbourne with his friends.

Awards: 2012 Youth America Grand Prix Semi-Finalist2013 Youth America Grand Prix Finalist

Seu has been selected to compete in the 2016 Prix de Lausanne


Yipeng (Lucien) Xu Montana Rubin

Yipeng Xu was born in Xuzhou, China. At age 11, Yipeng became interested in ballet when his father took him to join a dance class. He studied at Beijing Dance Academy from 2007-2014. In 2013, Yipeng also took part in the Beijing International Ballet and Choreographer Competition. At the Youth America Grand Prix 2013, Yipeng was awarded a scholarship to join The Australian Ballet School from 2014. You may not know: Yipeng lives to dance and is enjoying his time in Australia.

Awards:2013 Youth America Grand Prix Finalist

Montana was born in Johannesburg, South Africa but raised in Sydney. She began her early dance training at The Dance Spot in Randwick and moved to Melbourne in 2013 to continue her training at The Australian Ballet School. In 2014 Montana was selected to join The Dancers Company and performed in Paquita and Swan Lake. Montana enjoyed working with Victoria Simon from The Balanchine Trust who staged Raymonda for The Australian Ballet School 50th Anniversary Gala. You may not know: Montana is the 2015 Co-Captain of The Australian Ballet School. In her spare time she enjoys reading, photography and cooking.

Awards:2011 Robert and Elizabeth Albert Ballet Scholarship2012 Genee International Ballet Competition Gold medallist


Aya Watanbe Miyako Tamamura

Aya was born in Saitama, Japan where she trained from age four at the Reiko Yamamoto Ballet School. As a finalist in Prix de Lausanne 2014, Aya won a scholarship to study at The Australian Ballet School which she commenced in mid-2014. You may not know: Aya loves to watch various sports, especially soccer and tennis.

Awards:2014 Prix de Lausanne finalist

Miyako was born in Nagoya, Japan in 1997. She started ballet when she was 9 years old. In 2013, she participated in American Ballet Theatre’s Summer Intensive in New York. Miyako was a semi-finalist in the Youth America Grand Prix 2013 and received a scholarship to study at The Australian Ballet School, commencing in 2014. During her first year at the School, Miyako was selected to join the Dancers Company.

Awards:2013 Youth America Grand Prix semi-finalist


Adelaide Symphony OrchestraPrincipal Guest Conductor and Artistic Advisor Arvo Volmer

Artist in Association Nicholas McGegan

Principal Conductor Designate Nicholas Carter

VIOLINSNatsuko Yoshimoto** (Concertmaster)

Supported by ASO Chair of the Board Colin Dunsford AM & Libby Dunsford

Cameron Hill** (Associate Concertmaster)

Supported by the Baska Family

Hilary Bruer* (Acting Principal 1st Violin)

Supported by Marion Wells

Michael Milton** (Principal 2nd Violin)

Supported by The Friends of the ASO

Lachlan Bramble~ (Associate Principal 2nd Violin)

Supported in the memory of Deborah Pontifex

Gillian BraithwaiteJulia BrittainElizabeth CollinsJane CollinsBelinda GehlertAlison HeikeAlexis Milton

Supported by Patricia Cohen

Julie NewmanAlexander PermezelJudith PolainMarie-Louise SlaytorKemeri Spurr

VIOLAS Imants Larsens** (Acting Principal)

Supported by Mr & Mrs Simon & Sue Hatcher

Linda Garrett~

(Acting Associate)Martin ButlerLesley CockramAnna HansenRosi McGowranMichael RobertsonCecily Satchell

CELLOS Simon Cobcroft**

Supported by Andrew & Gayle Robertson

Ewen Bramble~ Supported by Barbara Mellor

Sarah Denbigh

Sherrilyn Handley Supported by Johanna and Terry McGuirk

Gemma Phillips Supported by R & P Cheesman

David Sharp Supported by Dr Aileen F Connon AM

DOUBLE BASSES David Schilling**

Supported by Mrs Maureen Akkermans

David Phillips (Acting Associate)

Supported for “a great bass player with lots of spirit - love Betsy”

Harley Gray Supported by Bob Croser

Belinda Kendall-Smith

FLUTES Geoffrey Collins**

Supported by Pauline Menz

Lisa GillSamantha Hennessy

PICCOLOSJulia Grenfell*

Supported by Chris & Julie Michelmore

Samantha Hennessy

OBOES Joshua Oates** (Guest Principal)

Renae Stavely Supported by Roderick Shire & Judy Hargrave

COR ANGLAIS

Peter Duggan* Supported by Dr Ben Robinson

CLARINETS

Dean Newcomb** Supported by the Royal Over-Seas League SA Inc

Darren Skelton Supported by In memory of Keith Langley

E FLAT CLARINET

Darren Skelton* Supported by In memory of Keith Langley

BASS CLARINET

Mitchell Berick* Supported by Nigel Stevenson & Glenn Ball

BASSOONS Mark Gaydon**

Supported by Pamela Yule

Leah Stephenson* Supported by Liz Ampt

HORNS Adrian Uren**Sarah Barrett~

Supported by Margaret Lehmann

Alex MillerPhilip PaineEmma Gregan

TRUMPETS David Khafagi** (Guest Principal)Timothy FrahnMartin Phillipson~ (Cornet)

Supported by Richard Hugh Allert AO

Timothy Keenihan (Cornet)

TROMBONES Cameron Malouf**

Supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Ian Denbigh

BASS TROMBONEHoward Parkinson*

TUBA Peter Whish-Wilson*

Supported by Ollie Clark AM & Joan Clark

TIMPANI Andrew Penrose* (Acting Principal)

PERCUSSION Steven Peterka**


Gregory RushJamie AdamAmanda GriggFleur GreenSami Butler

HARP Suzanne Handel*

Supported by Shane Le Plastrier

CELESTE Katrina Reynolds*

** denotes Section Leader* denotes Principal Player~ denotes Associate Principal

denotes Musical Chair Support


Flowers supplied by

ASO BOARD

Colin Dunsford AM (Chair)Vincent CiccarelloGeoffrey CollinsCol EardleyByron GregoryDavid LeonChris MichelmoreMichael MorleyAndrew RobertsonNigel Stevenson

ASO MANAGEMENT

EXECUTIVE

Vincent Ciccarello - Managing Director

ARTISTIC

Simon Lord - Director, Artistic PlanningKatey Sutcliffe - Artistic AdministratorEmily Gann - Learning and Community Engagement Coordinator

FINANCE AND HR

Louise Williams - Manager, People and CultureKarin Juhl - Accounts/Box Office CoordinatorSarah McBride - PayrollEmma Wight - Administrative Assistant

OPERATIONSKaren Frost - Orchestra ManagerBruce Stewart - LibrarianDavid Khafagi - Production & Venue SupervisorDavid Bailith - Production & Venue Assistant

MARKETING AND DEVELOPMENTPaola Niscioli - General Manager, Marketing and DevelopmentTom Bastians - Customer Service ManagerAlexandra Bassett - Donor Relations ManagerAnnika Stennert - Marketing CoordinatorKate Sewell - Publicist

Michelle Bini – Publications and Communications Coordinator

FRIENDS OF THE ASO EXECUTIVE COMMITTEE

Alison Campbell - PresidentLiz Bowen - Immediate Past PresidentAlyson Morrison and John Pike - Vice PresidentsJudy Birze - Treasurer/SecretaryJohn Gell - Assistant Secretary/ Membership

Correct at time of print.

Concertmaster Natsuko Yoshimoto

Supported by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford

Associate Principal CelloEwen Bramble

Supported byBarbara Mellor

Principal ViolaJuris Ezergailis

Supported in the memory of Mrs JJ Holden

Principal 2nd Violin Michael Milton


Associate Principal 2nd Violin Lachlan Bramble


Associate ConcertmasterCameron Hill

Supported by The Baska Family

Principal 1st ViolinShirin Lim

Supported in the memory of Dr Nandor Ballai

For more information please contact Paola Niscioli, Director, Marketing & Development on (08) 8233 6263 or [email protected]

Violin Hilary Bruer


Violin Emma Perkins

Supported byPeter & Pamela McKee

ViolinMinas Berberyan

Supported by

Merry Wickes

ViolinAlexis Milton

Supported byPatricia Cohen

Associate Principal Viola Imants Larsens

Supported bySimon & Sue Hatcher

Principal CelloSimon Cobcroft

Supported byAndrew & Gayle Robertson

Cello Chris Handley

Supported byJohanna and Terry McGuirk

CelloDavid Sharp

Supported byDr Aileen F Connon AM

CelloSherrilyn Handley


Principal BassDavid Shilling


BassHarley Gray

Supported byBob Croser

Musical chair players and donors

CelloGemma PhillipsSupported by R & P Cheesman

BassDavid Phillips

Supported for‘a great bass player with lots of spirit - love Betsy’

Oboe Renae Stavely

Supported by Roderick Shire & Judy Hargrave

Principal Bass ClarinetMitchell Berick

Supported by Nigel Stevenson & Glenn Ball

Principal BassoonMark Gaydon

Supported byPamela Yule

Principal TubaPeter Whish-Wilson


Principal TimpaniRobert Hutcheson

Drs Kristine Gebbie and Lester Wight

Principal ClarinetDean Newcomb

Supported byRoyal Over-Seas League SA Inc

Principal Flute Geoffrey Collins


Principal Cor Anglais Peter Duggan

Supported by Dr Ben Robinson

BassoonLeah Stephenson

Supported byLiz Ampt

Principal PiccoloJulia Grenfell


Principal Contra BassoonJackie Hansen

Supported by Norman Etherington AM & Peggy Brock

ClarinetDarren Skelton

Supported in the memory of Keith Langley

Associate Principal TrumpetMartin Phillipson

Supported byRichard Hugh Allert AO

Principal PercussionSteven Peterka


Principal HarpSuzanne Handel

Supported byShane Le Plastrier

Principal TromboneCameron Malouf


Associate Principal HornSarah Barrett

Supported byMargaret Lehmann

Principal OboeCelia Craig

Supported in memory of Geoffrey Hackett-Jones

Concertmaster Natsuko Yoshimoto

Supported by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford

Associate Principal CelloEwen Bramble

Supported byBarbara Mellor

Principal ViolaJuris Ezergailis

Supported in the memory of Mrs JJ Holden

Principal 2nd Violin Michael Milton


Associate Principal 2nd Violin Lachlan Bramble


Associate ConcertmasterCameron Hill

Supported by The Baska Family

Principal 1st ViolinShirin Lim

Supported in the memory of Dr Nandor Ballai

For more information please contact Paola Niscioli, Director, Marketing & Development on (08) 8233 6263 or [email protected]

Violin Hilary Bruer


Violin Emma Perkins

Supported byPeter & Pamela McKee

ViolinMinas Berberyan

Supported by

Merry Wickes

ViolinAlexis Milton

Supported byPatricia Cohen

Associate Principal Viola Imants Larsens

Supported bySimon & Sue Hatcher

Principal CelloSimon Cobcroft

Supported byAndrew & Gayle Robertson

Cello Chris Handley


CelloDavid Sharp

Supported byDr Aileen F Connon AM

CelloSherrilyn Handley


Principal BassDavid Shilling


BassHarley Gray

Supported byBob Croser

Musical chair players and donors

CelloGemma PhillipsSupported by R & P Cheesman

BassDavid Phillips

Supported for‘a great bass player with lots of spirit - love Betsy’

Oboe Renae Stavely

Supported by Roderick Shire & Judy Hargrave

Principal Bass ClarinetMitchell Berick

Supported by Nigel Stevenson & Glenn Ball

Principal BassoonMark Gaydon

Supported byPamela Yule

Principal TubaPeter Whish-Wilson


Principal TimpaniRobert Hutcheson

Drs Kristine Gebbie and Lester Wight

Principal ClarinetDean Newcomb

Supported byRoyal Over-Seas League SA Inc

Principal Flute Geoffrey Collins


Principal Cor Anglais Peter Duggan

Supported by Dr Ben Robinson

BassoonLeah Stephenson

Supported byLiz Ampt

Principal PiccoloJulia Grenfell


Principal Contra BassoonJackie Hansen

Supported by Norman Etherington AM & Peggy Brock

ClarinetDarren Skelton

Supported in the memory of Keith Langley

Associate Principal TrumpetMartin Phillipson

Supported byRichard Hugh Allert AO

Principal PercussionSteven Peterka


Principal HarpSuzanne Handel

Supported byShane Le Plastrier

Principal TromboneCameron Malouf


Associate Principal HornSarah Barrett

Supported byMargaret Lehmann

Principal OboeCelia Craig

Supported in memory of Geoffrey Hackett-Jones


Pyotr Ilyich Tchaikovsky (1840 -1893)

Ballet came to Russia in the mid-18th century in the wake of Peter the Great’s attempts to Europeanise his court and country. Like so much of the European culture that Peter wished to emulate, the ballet was French in flavour if not origin. As in the West, it tended at the time to form part of larger ‘all-singing, all-dancing’ stage spectacles, though the dance might not necessarily relate to the plot of the show in which it might appear: it was not uncommon to see a cheery dance interlude between the acts of an opera seria with its moral tales of gods and heroes. In France the fashion for ballet in opera persisted in such works as the Paris version of Gluck’s Orphée et Euridice, and as late as Wagner’s Tannhäuser (where the composer faced the wrath of the high-society Jockey Club, whose members took a dim view of the ballet appearing in Act I, before they had deigned to turn up for the show). It was therefore something of a radical change when an Italian dancer, Gasparo Angiolini, arrived at St Petersburg in 1766. As well as the required intermezzos and pantomimes, he proceeded to stage ‘a complete dramatic action, based upon principles of the ancients’ in full-length ballets that enacted a dramatic plot. Around the turn of the 19th century a French dancing master, Charles-Louis Didelot, presided at St Petersburg; his method was to devise choreography for a full-length ballet in meticulous detail and only then commission a musical score to embody it.

As also happened at various times in opera, ballet was hijacked by celebrity, and by the mid-19th century was often reduced

to a ramshackle collection of star vehicles. The appointment of French choreographer Marius Petipa at St Petersburg in 1869 largely put a stop to that, and laid the foundations for Russia’s pre-eminence in ballet from then on. Composers for the Russian ballet were, like the choreographers, almost all from elsewhere. (Recall that the Conservatories of St Petersburg and Moscow were both founded only well into the 19th century: Tchaikovsky was in the first graduating class of the former and was a founding staff member at the latter.) Two years before Petipa’s arrival, The Fern, produced at Moscow’s Bolshoi Theatre with choreography by Sergei Sokolov and music by Yuri Gelber, was probably the first truly Russian ballet. But the first major work by a Russian composer was arguably the opera Ruslan and Ludmila by Mikhail Glinka, which appeared in 1842. Tchaikovsky never met Glinka but regarded his music as the ‘acorn

ASO at the Ballet


from which the oak of Russian music grew’. Glinka’s benign influence over Russian music stems less from the sound of his music than from the interest in folk- and fairy-tales that Ruslan, a lively ‘quest’ story involving a princess, evil magicians, malevolent gnomes and gigantic heads, helped to fuel. Such themes would recur in Russian ballet up to and beyond the generation of Stravinsky.

Fairy-tales were not, of course, exclusively the province of Russian composers and choreographers, and the work of the brothers Grimm and E.T.A. Hoffmann brought fairy-tales to a wide audience in the German-speaking countries and beyond. And of course German Romantic opera, from Weber to Wagner, is frequently set in the world of the supernatural. Each of Tchaikovsky’s three great ballets takes place in a fairy-tale landscape; none is explicitly Russian.

Dating from 1875-7, Swan Lake was commissioned for the Bolshoi Theatre in Moscow and is based on a German fairy-tale collected in the late 18th century. Prince Siegfried has come of age, so a ball has been arranged by his mother (who is represented by a waltz) at which he must choose a bride. While hunting, he inconveniently falls in love with Odette, a princess who is one of several young women enchanted by Rothbart so that she is a swan by day and a human by night, and will be until she marries. Amidst a series of ‘national’ dances, some of which we hear this evening, Rothbart appears at the ball with his daughter Odile, who is identical to Odette, and Siegfried is tricked into marrying her. When Siegfried discovers the betrayal he rushes to the lake where he and Odette break Rothbart’s spell by perishing in its waters.

Swan Lake held the stage, as one contemporary noted, until ‘not only the décor became ragged, but the musical score suffered more and more until nearly a third was exchanged with music from other ballets, and not necessarily good ones’. Tchaikovsky, however, wrote no new ballet music until 1888, when he embarked on The Sleeping Beauty. Based on the 17th-century version by Charles Perrault, the ballet was composed at the invitation of Ivan Vsevolozhsky, who wrote the libretto and

who suggested ‘a musical fantasia written in the spirit of Lully, Bach, Rameau etc.’. Set in 17th-century France, it was first performed at the Mariinsky (briefly the Kirov) Theatre in St Petersburg in 1890 with choreography by Marius Petipa who, like Didelot, would give his composers an extremely detailed brief as to how long a section should last and what its character should be. The scenario allows for many set pieces in addition to solos and loving pas de deux: there are dances for the fairies who arrive to bless the newborn

Original cast members costumed for Act I of Sleeping Beauty. (Mariinsky Theatre, St Petersburg, 1890)


Aurora and for a ball scene in Act II; and when Aurora wakes from her century of sleep and marries Prince Désiré, there is a cavalcade of fairies, other famous fairy-tale characters and folk of various nationalities.

The Nutcracker was written by E.T.A. Hoffmann, but made into a French version by Alexandre Dumas père. Tchaikovsky used a libretto by Vsevolozhsky and Petipa for his ballet in 1892. In the story, on a Christmas Eve in 18th-century Germany, a young girl, Clara, enters the fairy-tale world, witnessing a battle between the nutcracker and her other toys against an army of mice. When she kills the king of the mice, the Nutcracker – now transformed back into a handsome Prince – takes her to the Kingdom of Sweets. This is ruled over by the Sugar Plum Fairy who is depicted in music by the silver tones of the celesta, an instrument that had only been invented six years before Tchaikovsky made it famous. To entertain Clara, the denizens of the Kingdom of Sweets put on a show of national dances. These include the ‘Trepak’, the only Russian dance in the whole ballet, while the ‘Chinese Dance’ is supposed represent tea. Before the final waltz and ‘apotheosis’ comes a pas de deux for the Prince and Sugar Plum Fairy, an extraordinary case of Tchaikovsky’s use of simple material and repetition to create powerful effects.

The popularity of the waltz in Russian ballet reminds us that Johann Strauss II was a frequent visitor to St Petersburg in the 1860s, but by the turn of the 20th century Russia was able to export ‘classical’ ballet back to its birthplace: France. From 1909, the Ballets Russes, under its resourceful director Sergei Diaghilev, was a regular fixture in Paris, for whose citizens the Russian fairy-tale world was irresistible. Diaghilev

had already whetted the Parisian audience’s appetite for Russian music in concerts presented as early as 1907; in 1910 he commissioned Stravinsky to compose the score to The Firebird, ‘the first Russian ballet’. As well as Stravinsky, Diaghilev commissioned Sergei Prokofiev, whom he met in London in 1914, to compose several ballet scores. He also commissioned or used the work of French composers like Claude Debussy and Maurice Ravel.

‘A masterpiece, but it is not a ballet’ was Diaghilev’s verdict when Ravel delivered the piano score of his newly commissioned work Wien. Ravel had considered such a piece well before the First World War, but the composition dates from 1920. While it was eventually given as a ballet in 1928, the piece is much better known in the concert hall. The original scenario, reflected in the music, had glimpses of dancers in 1850s-Viennese costume emerging from and disappearing into darkness, accompanied by fragments of music suggesting waltzes, such as those of the Strauss family, of the time. Ravel was

Maurice Ravel (1875 - 1937)


adamant, however, that the piece should not be seen as an emblem of the end of imperial France or Austria. La Valse (as it came to be named) is, he said, ‘tragic, but in the Greek sense: it is a fatal spinning-around, the expression of vertigo and of the voluptuousness of dance to the point of paroxysm’.

Prokofiev had made several visits to Western Europe in the pre-revolutionary years and had hoped to conquer the USA, where he was commissioned to write the fairy-tale opera The Love for Three Oranges, a knockabout farce set in a world of commedia dell’arte characters. Back in the USSR after numerous return trips in the late 1920s and early 1930s, Prokofiev suffered mixed fortunes as he, like Shostakovich, fell in and out of favour with Stalin. To some extent the eventual success of his ballet Romeo and Juliet in 1938 represented a

period of favour that lasted through the years of World War II until the Zhdanov affair in 1946, which ushered in a new wave of repression for artists.

Prokofiev’s Cinderella was composed in 1944 and premiered the following year at the Bolshoi. It is a lavish retelling of the fairy-tale, complete with mice and fairies, a glittering ballroom and a pumpkin-style coach, in music that sometimes recalls Tchaikovsky. It falls into three acts. In the first, Cinderella is seen as the oppressed and unwanted girl transformed, as a result of her kindness to what she thinks is a beggar (but is her fairy godmother), into a radiant young woman in glass slippers. In Act II she goes to the Spring Ball where she and the Prince fall in love and where at midnight she (losing a slipper) runs away so as not to be revealed. Act III deals with the Prince’s efforts to find Cinderella, her stepmother’s and stepsisters’ attempts to fit the glass slipper, and the final recognition and wedding.

The selections presented here are from the ball scene, and, given that the scenario calls for oranges to be served as a delicacy, Prokofiev cannot resist a little self-quotation.

© Gordon Kerry 2015

Sergei Prokofiev (1891 - 1953)

Mice from the Nutcracker

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Diamond Patron ($25,000+)

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Mrs Pauline MenzMr Norman Schueler OAM and Mrs Carol SchuelerThe Richard Wagner Society of South Australia Inc

Silver Patron ($2,500 - $4,999)

Mrs Maureen AkkermansRichard Hugh Allert AOMs Liz AmptThe Baska FamilyR & P CheesmanMr and Mrs Vincent and Sandra CiccarelloMr Ollie Clark AM & Mrs Joan ClarkMrs Patricia CohenMr Bob CroserLegh & Helen DavisNorman Etherington & Peggy BrockDrs Kristine Gebbie & Lester WrightMr Donald Scott GeorgeMrs Penelope Hackett-Jones and the late Geoffrey Hackett-JonesSimon & Sue HatcherMrs Sue Langley

Shane Le PlastrierMrs Margaret LehmannMrs Barbara MellorMr & Mrs Chris & Julie MichelmoreMr & Mrs Andrew & Gayle RobertsonDr J B RobinsonRoyal Over-Seas League South Australia IncorporatedRoderick Shire & Judy HargraveMr Ian SmailesMr Nigel Stevenson & Mr Glenn BallDr Georgette StraznickyVirginia Weckert & Charles Melton of Charles Melton WinesMrs M W WellsDr Betsy Williams & Mr Oakley DyerMrs Pamela Yule

A sincere thank you to all our donors who contributed in the past 12 months. All gifts are very important to us and help to sustain and expand the ASO. Your donation makes a difference.

Gold Patron ($5,000 - $9,999)

Maestro Patron ($1,000 - $2,499)

Mr Neil ArnoldDr Margaret ArstallAustralasian Double Reed Society SA

Rob BaillieProf Andrew & Mrs Elizabeth Bersten

Graeme & Susan BethuneThe Hon D J & Mrs E M Bleby

Mr Peter J ClearyTony & Rachel DavidsonDr Alan Down & Hon Catherine Branson

Mrs Lorraine DrogemullerIn Memory of Jim FrostRJ, LL & SJ GreensladeMr Donald GrowdenDr I KlepperIan Kowalick AM & Helen Kowalick

Mr Peter McBrideDr & Mrs Neil & Fay McIntosh

Mrs Christine & the late Dr Donald Perriam

Ms Marietta ResekMr Christopher RichardsPhilip Satchell AM & Cecily Satchell

Mr & Mrs W ScharerLarry & Maria ScottMr & Mrs H W ShortIan Smailes & Col EardleyNigel Steele ScottChristopher StoneMs Guila TiverDavid & Linnett TurnerMs Margaret TyrrellMr J W ValeDr Richard & Mrs Gweneth Willing

Plus five anonymous donors

Soloist Patron ($500 - $999)

Aldridge Family Endowment

Dr Elinor AtkinsonMs Dora O’BrienBarbara BahlinMr John BakerMr & Mrs R & SE BartzMrs Judith BaylyMs Amanda BlairLiz BowenDr & Mrs J & M BrooksMrs J L BrooksMrs Josephine CooperMr Bruce Debelle AOFr John DevenportDr Christopher DibdenMrs A E DowMrs Jane Doyle

Mr L J EmmettMs Barbara FergussonJiri & Pamela FialaMr & Mrs Andrew & Helen Giles

Dr Noel & Mrs Janet Grieve

Mr P R GriffithsMrs Eleanor HandreckDr Robert HeckerDr Douglas & Mrs Tiiu Hoile

Rhys & Vyvyan HorwoodMrs Rosemary KeaneKerry & Barbara KirkeMrs Joan LeaMr Michael McClaren & Ms Patricia Lescius

Mrs Beverley MacmahonMrs Lee MasonMrs Skye McGregorDr D G & Mrs K C MorrisK & K PalmerMs Jocelyn ParsonsCaptain R S Pearson CSC and Mrs J V Pearson

Mr Martin PenhaleMr & Mrs John & Jenny Pike

Mrs Catherine L OsborneJ M ProsserMr & Mrs David & Janet Rice

Mr Mark RinneDrs I and K Roberts-Thomson

Mr & Mrs Trevor & Elizabeth Rowan

Ms Linda SampsonProfessor Ivan Shearer AMRobert Short & Sherry Kothari

Mr W & Mrs H StacyS and S ThomsonThe Honourable Justice Ann Vanstone

Mr Nick WardenMrs Pamela WhittleMrs Gretta WillisMs Janet WorthHon David Wotton AM & Mrs Jill Wotton

Plus 16 anonymous donors

Tutti Patron ($250 - $499)

Mr Brenton BarrittMrs Jillian BeareJonathan BillingtonDr Adam BlackMr & Mrs Andrew & Margaret Black

Mr Mark BlumbergDianne & Felix BochnerMrs Janet H CallenJohn & Flavia CaporneMrs J Y Clothier

Mr Stephen CourtenayMr & Mrs Michael & Jennifer Critchley

Mrs Betty CrossHonourable Dr Rosemary Crowley AO

George & Ilana CulshawMr John DaenkeMrs M D Daniel OAMDr Joan DurdinMr & Mrs Stephen & Emma Evans

Dr Laurence J FergusonMr J H FordMr Otto FuchsDr David & Mrs Kay GillThe Hon R & Mrs L Goldsworthy

Mr Neil HallidayMrs Mary HandleyMrs Jill HayProf Robert Heddle & Mrs Margaret Heddle

Mrs Judith HeidenreichMr & Mrs Peter & Helen Herriman

Mrs Kate HislopMr John HoldenMr D G W HowardMr Angus KennedyMrs Bellena KennedyHon Anne Levy AOMrs Beth LewisLodge Thespian, No. 195 Inc

Mr J H LoveMr Colin MacdonaldMr Dennis MaddockRobert MarroneDr Ruth MarshallMrs Inese MedianikMrs Josephine MonkMs Fiona MorganMrs Alyson MorrisonMrs Amparo Moya-KnoxMargaret MudgeMr Alex NicolDr Kenneth O’BrienDr John OvertonMr and Mrs PatersonMrs Coralie PattersonMr D G PittMr Frank PrezTony and Jenny ReadMrs Janet Ann RoverMrs Jill RussellMr A D SaintMr Frank and Mrs Judy Sanders

Mrs Meredyth Sarah AMMr David ScownMs Gweneth ShaughnessyMrs Pauline E. ShuteR & L SiegeleMr & Mrs Antony & Mary Lou Simpson

Mr Brenton SmithMr & Mrs Jim & Anne

SpikerEric StaakAnthony Steel AM and Sandra Mason

Mr & Mrs Graham & Maureen Storer

John & Annette TerpelleAnita Robinson & Michael Tingay

Ms Christine TrenordenMr Jacky TsangMark & Jenny TummelMr David TurnerKeith and Neta Vickery

Plus 18 anonymous donors In Memory of Des Blundell, Former Principal Trombone and Rob Collins, Former ASO Violist donated by the ASO Players Association

The ASO also thanks the 502 patrons who gave other amounts in the past twelve months.


BE PART OF OUR ONLINE COMMUNITY!

SEE BEHIND THE SCENES AND GET THE LATEST INFO

STAY UP TO DATE WITH WHAT’S HAPPENING AT THE ASOSign up to our eNews (http://www.aso.com.au/contact/newsletter-sign-up)

Like us on Facebook (www.facebook.com/adelaidesymphonyorchestra)

Follow us on twitter (@the_ASO) and Instagram (the_aso)

Please do share with us - we love hearing what your experiences are when you come to concerts and events.



What your donations support Give proudly

full-time musicians

casual employees

hours of concerts

students & teachers engaged with the ASO

hours of rehearsals in the Grainger Studio

composers currently under commission

pages of sheet music turned

75125 232

10,107400

3

13 ,800

The Adelaide Symphony Orchestra reaches over 100,000 people in our community every year and it’s thanks to individuals like you who help make it possible. With ticket sales only accounting for 28% of the Orchestra’s operational costs, private giving makes a significant impact in delivering world class concerts to the community. Please help the ASO to share the power of live music by donating generously.

Support Us

Donate nowSupporting your ASO is easy (donations over $2 are fully tax deductible and exempt of credit card charges). Give online at aso.com.au/donateOr, if you’d like further information or to discuss other ways to support the ASO, contact Paola Niscioli, General Manager, Marketing and Development on 8233 6263 or email [email protected]

A Bequest for the futureImagine a world in which concerts are only on YouTube and music only heard on recordings. Where would we be without the great orchestral performances that transcend time and place and move us beyond our imagination?

Help us to preserve the world of music and share your lasting passion for the ASO by making a gift in your Will. Your generosity will create enduring benefits for the ASO and ensure that the pleasure of music will be passed on to future generations.

BE PART OF OUR ONLINE COMMUNITY!

SEE BEHIND THE SCENES AND GET THE LATEST INFO

STAY UP TO DATE WITH WHAT’S HAPPENING AT THE ASOSign up to our eNews (http://www.aso.com.au/contact/newsletter-sign-up)

Like us on Facebook (www.facebook.com/adelaidesymphonyorchestra)

Follow us on twitter (@the_ASO) and Instagram (the_aso)

Please do share with us - we love hearing what your experiences are when you come to concerts and events.


Principal Partner

Major Partners

World Artist Partners

Corporate Partners

Media Partners

Corporate Club

Industry collaborators

Friends

Government Support

The ASO receives Commonwealth Government funding through the Australia Council, its arts funding and advisory body. The Orchestra is funded by the Government of South Australia through Arts SA.

Adelaide Symphony Orchestra 91 Hindley St, Adelaide SA 5000 | Telephone (08) 8233 6233 Fax (08) 8233 6222 | Email [email protected] | aso.com.au

Principal Partner

Major Partners

World Artist Partners

Corporate Partners

Media Partners

Corporate Club

Industry collaborators

Friends

Government Support

57 FilmsBoylen – Website Design & DevelopmentCoopers Brewery Ltd FotonautHaigh’s ChocolatesHickinbotham Group

M2 GroupNormetalsPeregrine TravelPoster ImpactSan Remo Macaroni Co. Pty LtdSize Music

Thank you

DISCLAIMER: Every effort has been made to ensure that performance dates, times, prices and other information contained herein are correct at time of publication. Due to reasons beyond the ASO’s control, details may change without notice. We will make every effort to communicate these with you should this eventuate.

Join us

Santos and the ASO – great South Australian performersFor sixteen seasons Santos and the Adelaide Symphony Orchestra have partnered together to deliver outstanding performances to audiences across South Australia. This proud tradition continues in 2015.

With our head office here in Adelaide, Santos has been part of South Australia for over 60 years.

We search Australia to find gas and oil to help provide energy to our nation. But we also put our energy into supporting the communities in which we live and work.

Each year Santos supports a wide range of community events and organisations across South Australia.

By 2017, this support will add up to $60m over a ten-year period.

At Santos, we believe that contributing to a vibrant culture is good for everyone. We don’t just look for energy - we help create it.

Proudly working in partnership

kwp!

SA

N10

540

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