About Esplanade Theatres on the Bay. da:ns series 2017: Stuttgart Ballet in John Cranko s Romeo & Juliet is made possible with the generous support of

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1 Exclusive Sponsors

2 About Esplanade Theatres on the Bay Esplanade is Singapore s national performing arts centre and one of the busiest arts centres in the world. Since its opening in 2002, the centre has presented more than 34,000 performances, drawing an audience of 24 million patrons and 88 million visitors. This architectural icon, with its distinctive twin shells, houses world-class performance spaces complemented by a comprehensive range of professional support services. Its two main venues are the 1,600-seat Concert Hall and a Theatre with a capacity of 2,000. In March 2014, Esplanade s Concert Hall was listed as one of the world s 15 most beautiful concert halls by Hamburg-based building data company Emporis. Esplanade s vision is to be a performing arts centre for everyone and it seeks to enrich the lives of its community through the arts. The centre s programming is guided by its mission to entertain, engage, educate and inspire. Its year-long arts calendar of about 3,000 performances presented by Esplanade, its collaboration partners and hirers cater to diverse audiences in Singapore and span different cultures, languages and genres including dance, music, theatre, and more. More than 70% of the shows that take place each year at the centre are non-ticketed. Also presented free are the extensive visual arts programmes at the centre s public spaces which allow visitors to view and explore art works in their own time. Esplanade regularly presents world-renowned companies and artists that attract international attention and add to Singapore s cultural vibrancy. The centre is also a popular performance home for arts groups and commercial presenters who hire its venues to stage a wide range of programmes. These carefully curated presentations complement Esplanade s own diverse offerings for audiences. da:ns series 2017: Stuttgart Ballet in John Cranko s Romeo & Juliet is made possible with the generous support of Exclusive Sponsors Esplanade works in close partnership with local, regional and international artists to develop artistic capabilities, push artistic boundaries and engage audiences. The centre supports the creation of artistic content and develops technical capabilities for the industry nationally. Esplanade Theatres on the Bay is operated by The Esplanade Co Ltd (TECL), which is a not-for-profit organisation, a registered Charity and an Institution of a Public Character. In 2016, The Charity Council awarded TECL the Charity Transparency Award and the Special Commendation Award Clarity of Strategy. Visit for more information. Board Members Mr Lee Tzu Yang (Chairman) Mr Benson Puah (Chief Executive Officer) Mrs Rosa Daniel Dr Jennifer Lee Mrs Christine Ong Mr Kenny Powar Mr Ramlee Bin Buang Ms Saw Phaik Hwa Mrs Mildred Tan-Sim Beng Mei Dr Ming Tan Mrs Valarie Wilson Mr Yap Chee Meng Mr Andre Yeap Esplanade is a proud member of Association of Asia Pacific Performing Art Centres All rights reserved. UEN: G Information correct at time of print. Please note that photographs and videos of patrons may be taken at this event for use in our archival and publicity material. 1 Esplanade Drive, Singapore Tel: Fax: Customer Service Hotline: SISTIC Hotline:

3 ceo s message welcome message from the stuttgart ballet Dear Audience, We are delighted to have you with us as we welcome back the Stuttgart Ballet. Tonight, we experience the passions of youth as we are treated to this Shakespearean tragedy of young love, told through the breathtaking choreography of John Cranko. Created in 1962, Romeo and Juliet is a remarkable and ageless piece of ballet history that continues to move and inspire audiences today. It was the first of Cranko s signature works that introduced the world to a new form of dance storytelling that gives focus on character development. Known for its graceful athletic lifts, mesmerising pas de deux, and choreographic diversity, this work also sets a new benchmark for ballet as it gave rise to the celebrated Stuttgart aesthetic. At Esplanade, we always seek to present culturally and internationally diverse artists who uphold high artistic values and whose works and performances show us what it means to be truly passionate. The Stuttgart Ballet is testament to that, and we thank our sponsors The Connoisseur Concerto (TCC) and Robert Timms for their support and generosity in making this presentation a reality. Whether this is the first or fourth time you are catching the Stuttgart Ballet, we hope that you walk out with a spring in your step, feeling inspired. We wish you an exceptional evening ahead. Benson Puah CEO The Esplanade Co Ltd We are pleased and proud to return to Singapore to perform at the Esplanade, our fourth visit to this fantastic city. This time we are presenting John Cranko s Romeo and Juliet one of our signature works. In 1988, Anna Kisselgoff, celebrated dance critic of the New York Times, wrote that Cranko s version of this world famous ballet is arguably the best. I couldn t agree more! John Cranko s affinity for the works of William Shakespeare, his innate ability to translate the Bard s rich language and deep emotions into dance remains undisputed to this day. The breathless urgency of first love, the reckless impetuosity of youth, the destructive burn of hatred and the monumental tragedy brought about by deep-seated prejudices all these John Cranko translated masterfully into dance. His stunning choreography including breathtaking pas de deux, virtuosic solos and dashing sword fights coupled with Sergei Prokofiev s majestic music and designer Jürgen Rose s sets and costumes evoking the sun-lit streets, grand ballrooms and moon-lit gardens of renaissance Italy, make this ballet simply unforgettable. Over 50 years have passed since John Cranko created this masterpiece for the Stuttgart Ballet. Since then we have danced it all over the world and now we are delighted to be able to perform it for Singapore audiences. Our heart-felt thanks go out to the entire team of The Esplanade Co Ltd whose hard work have made our appearances possible and of course to The Connoisseur Concerto (TCC) and Robert Timms for their generous support. We wish you an unforgettable evening with this, the world s most famous love story, and hope that our performances will touch your hearts and minds. Reid Anderson Artistic Director Stuttgart Ballet 2 3

4 exclusive sponsors message O Romeo, Romeo! Wherefore art thou Romeo? Having performed to a standing ovation audience in Esplanade in 2014, Stuttgart Ballet returns to Singapore to perform Romeo and Juliet at the Esplanade from 12 to 14 October The Stuttgart Ballet has its origins dating back to the 17th century, under the Court of the Duke of Wurttemberg. Since then, the Stuttgart Ballet has become one of the leading international ballet companies. First under master choreographer John Cranko, as well as Marcia Haydée, and today under Artistic Director Reid Anderson, who has been a primary driving influence for constant innovation. Presented by Esplanade, The Connoisseur Concerto (TCC) and Robert Timms are grateful to be able to jointly collaborate and sponsor the Stuttgart Ballet s performances over the three days period. This is a continuation of TCC and Robert Timms corporate social responsibility programme to support the arts and culture in Singapore. We hope that you will be enthralled, by the world s famous love story told through Romeo and Juliet s dramatic musical score, the signature breathtaking Stuttgart lifts and the famous balcony scene. We wish you an enjoyable and memorable evening. The Connoisseur Concerto and Robert Timms 5

5 about john cranko s romeo & juliet John Cranko s production of Romeo and Juliet is considered one of the definitive versions being performed in the world today. Based on Shakespeare s world famous tale of two lovers in Renaissance Italy who find themselves caught between their feuding families, Cranko s vividly etched characters and breathtaking choreography bring this tragedy to splendid life. The ballet, set to Serge Prokofiev s lush score, contains dramatic roles for the young Juliet and her passionate lover Romeo, for Romeo s impetuous friend Mercutio and for Juliet s bullying relative Tybalt. An abundance of soloist roles further enriched the plot and provide the entire company with ample opportunity to display their acting and dancing abilities. Breathtaking pas de deuxs, dashing sword fights, colourful ensemble scenes as well as Jürgen Rose s magnificent sets and costumes evoking the sunlit streets of Verona enhance the action of the ballet while never obscuring the choreography. Cranko created Romeo and Juliet in 1962 for the Stuttgart Ballet with Marcia Haydée and Ray Barra in the title roles. For the last 50 years, the company has danced this ballet all over the world. In addition, Cranko s production has entered the repertory of many companies worldwide, including the National Ballet of Canada, the National Ballet of China, the Australian Ballet, the Ballet de Santiago de Chile, the Finnish National Ballet and the Ballet of the La Scala Opera House in Milan. Ballet by John Cranko after William Shakespeare Choreography: John Cranko Music: Sergei Prokofiev Sets and Costumes: Jürgen Rose Premiere: December 2, 1962, Stuttgart Ballet 6 7

6 synopsis ACT ONE ACT TWO ACT THREE Scene One: The Market Place As day breaks, Romeo, son of Montague, is found declaring his love to the fair Rosaline. With the sunrise the market place fills with townspeople, among whom are members of two rival families, the Capulets and the Montagues. Tempers flare and a quarrel develops. The Duke of Verona appears and warns the two factions that death will be the ultimate punishment if the feud does not stop. Romeo and his friends Benvolio and Mercutio make reluctant peace with Tybalt, a kinsman of the Capulets. Scene Two: Juliet s ante-room in the Capulets house Juliet receives her first ball dress from her mother, Lady Capulet, and learns that she is to meet the nobleman Paris to whom she will be betrothed on the following day. Now she must bid farewell to her childhood. Scene One: The Market Place A carnival is in progress at the town square. Romeo, daydreaming, is indifferent to the gaiety around him. Juliet s nurse brings him a letter from Juliet asking him to meet her in the chapel of Friar Laurence. Scene Two: The Chapel In his cloister, Friar Laurence joins the young lovers in marriage. Scene Three: The Market Place At the height of the carnival, Romeo returns to the square. Tybalt accosts him, but Romeo declines to fight. Mercutio, angered, engages in a duel with Tybalt, and dies at his hands. Romeo, stunned and distraught, turns on Tybalt and kills him. Scene One: The Bedroom In Juliet s bedroom, the lovers are awakened by the sunrise, and Romeo, who has been exiled, must leave Juliet and Verona. Lord and Lady Capulet enter with Paris, but Juliet rejects him. Scene Two: The Chapel Juliet, appealing for help to Friar Laurence, receives a potion from him that will place her in a death-like sleep. He explains that Romeo will find her in the family tomb and from there they can escape together. Scene Three: The Bedroom Juliet s parents return and Juliet agrees to the marriage with Paris. Left alone, Juliet takes the sleeping potion and is thought to be dead when her family and friends discover her. Scene Four: The Capulet family crypt Romeo, who has not received Friar Laurence s message revealing the plan, believes Juliet to be dead and rushes to her tomb. There he finds the mourning Paris and kills him. Embracing Juliet for the last time, he plunges his dagger into his heart. Juliet awakens to find Romeo dead. Grief-stricken, she kills herself. Scene Three: Outside the Capulets house Guests arrive at the Capulets ball, among them, Rosaline. Romeo, Mercutio and Benvolio, masked, follow her to the ball. Scene Four: The Ballroom Juliet is introduced to the guests and to Paris. While dancing with him, she and Romeo behold one another. It is love at first sight. Tybalt, suspecting Romeo s identity, tries to incite a quarrel, but is prevented from doing so by Juliet s father, who abides by the laws of hospitality. Scene Five: Juliet s balcony On the balcony outside her bedroom, Juliet dreams of Romeo. He appears below in the garden. They declare their eternal love. 8 9

7 the stuttgart ballet Ballet in Stuttgart has a rich history that goes back to the 17th-century court of Württemberg. It had its first golden age in the 18th century, when the great dance reformer Jean-Georges Noverre exerted his influence as ballet master from 1759 to Figures such as ballet master Filippo Taglioni ( ) and artist Oskar Schlemmer ( ) also contributed to turning Stuttgart into an acclaimed centre for dance in Europe from the 18th to the early 20th century. Post-1945, numerous performances by foreign ballet companies from New York, Paris, London and Russia contributed to the rekindling of public interest in classical dance in Stuttgart. In 1957, Nicolas Beriozoff, a former dancer with the Ballet Russe de Monte Carlo, was appointed to lead the ballet ensemble of the Württemberg State Theatre in Stuttgart. Beriozoff enlarged the company and redefined its repertoire with new stagings of narrative classics such as The Sleeping Beauty, Swan Lake and The Nutcracker. The Cranko Era ( ) In 1961, John Cranko was appointed director and choreographer of the ballet in Stuttgart, and a new era began. In the ensuing 12 years, Cranko was not only responsible for the most successful chapter of Stuttgart s ballet history, but also joined the ranks of eminent 20th century choreographers. At the outset of his leadership he surrounded himself with exceptional dancers such as Egon Madsen, Richard Cragun, Birgit Keil, Ray Barra and Marcia Haydée, who became his muse and prima ballerina. A comprehensive vision focused on showcasing his dancer s unique talents and diversifying the repertoire, as well as the use of his exceptional choreographic talent were the key factors which lead the Stuttgart Ballet to worldwide acclaim under Cranko s aegis. With three legendary new works he helped to renew the genre of the full-length narrative ballet: Romeo and Juliet (1962), Onegin (1965, new version 1967) and The Taming of the Shrew (1969). A fluid and easily understandable plot-line, masterful dramaturgy, clearly drawn, vivid characters and astounding choreographic diversity are the main features of Cranko s style. Cranko also created one-act masterpieces such as Jeu de cartes, Opus 1 and Initials R.B.M.E. Guest choreographers such as Kenneth MacMillan and Peter Wright were responsible for the further refinement of the Stuttgart aesthetic, as well as dancers from within the company whom Cranko encouraged to choreograph themselves, first and foremost John Neumeier and Jiří Kylián. A New York tour in 1969 turned into an overwhelming triumph, crowned by esteemed dance critic Clive Barnes employing the phrase the Stuttgart Ballet miracle. The then little known company became The Stuttgart Ballet an ensemble firmly positioned in the world s premiere league of ballet companies. Countless invitations to the world s great theatres ensued. At home in Stuttgart, Cranko was tireless in his efforts to establish ballet as an autonomous, valid art form, fighting for better pay for his dancers, emancipation from the opera for which his dancers had to dance and time on the opera house stage in which to present evenings dedicated solely to dance. The growing international prestige of the Stuttgart Ballet was instrumental in the accomplishment of these goals, and Cranko paved the way for ballet to establish itself across Germany. The Noverre Society, an association of ballet lovers in Stuttgart, supported Cranko substantially, and within a few years, their collaboration helped turn the Stuttgart public into a highly informed and passionate dance audience, to an extent rarely seen elsewhere. On Cranko s initiative, the Young Choreographers evenings were established to provide fledgling choreographers with a platform to show their work. In 1971 Cranko opened the Stuttgart Ballet School (renamed John Cranko School in 1974), laying the foundation for one of the most respected institutions for dance training in the world. The Tetley Era ( ) Cranko s tragic and all-too-early death in 1973 could have meant the end of the Stuttgart Ballet miracle, but the foundation for continuing success had already been laid: shortly before his death in 1973, Cranko had invited the American choreographer Glen Tetley to become resident choreographer. Tetley was appointed director in With a background in modern dance, he greatly and substantially influenced the Stuttgart Ballet during the relatively short time of his directorship. With works such as Voluntaries (1973), Le sacre du printemps (1974) and Daphnis and Chloe (1975), he succeeded in opening the minds and bodies of the dancers to an entirely novel movement language and in conveying a contemporary dance aesthetic to them. The Haydée Era ( ) Following Tetley s resignation in 1976, prima ballerina and principal dancer Marcia Haydée took over the directorship of the Stuttgart Ballet. Haydée considerably broadened the company s repertoire with works by Hans van Manen and Maurice Béjart, as well as by former company members such as John Neumeier and Jiří Kylián. Most importantly, she appointed William Forsythe a dancer in the company and subsequently Uwe Scholz as resident choreographers; and in so doing established the Stuttgart Ballet as one of the most artistically interesting companies on the international stage. Haydée also had great success with her staging of The Sleeping Beauty in After a dance career of 35 years and 20 years as director, Marcia Haydée took leave of the Stuttgart Ballet in With Canadian born Reid Anderson, as her successor, the Stuttgart Ballet began its journey into the next millennium. The Anderson Era (1996 present) Reid Anderson was a dancer of the Stuttgart Ballet from 1969 to 1984, and Principal Dancer as of He was Director of the Ballet British Columbia from 1987 to 1989, and Director of the National Ballet of Canada from 1989 to In his first season in Stuttgart, Reid Anderson brought 21 talented new dancers to the company, prompting critics to coin the term the new Stuttgart Ballet. Anderson has continued the company s success with highly diverse programming which provides creative opportunities for younger choreographers whilst cultivating the Cranko heritage and presenting the masterpieces of the classical and neo-classical repertory. In the last 20 years, Anderson has commissioned over 100 world premieres including eight full-lengths from choreographers such as Mauro Bigonzetti, Wayne McGregor, Sidi Larbi Cherkaoui, David Bintley, Kevin O Day, Itzik Galili, Jorma Elo, Cayetano Soto, Douglas Lee and Edward Clug, among others. He appointed Christian Spuck as resident choreographer in 2001 (to 2012), Marco Goecke in 2005 (to present), and Demis Volpi in 2013 (to 2017). The breathtaking level of technical skill and the stylistically broad repertoire of the Stuttgart Ballet not only attracts audiences, but also dance talent from all over the world: more than 25 nationalities are represented in the company. To this day, the Stuttgart Ballet tours consistently worldwide

8 casting biographies ROMEO AND JULIET Ballet in three acts after William Shakespeare Choreography by John Cranko Music by Sergei Prokofiev Sets and Costumes by Jürgen Rose World Premiere: December 2, 1962, Stuttgart Ballet The House of Capulet Lord Capulet: Lady Capulet: Juliet: Tybalt: Graf Paris: Juliet s nurse: The House of Montague Lord Montague: Lady Montague: Romeo: Mercutio: Benvolio: The Duke of Verona: Friar Laurence: Rosaline: Gypsies: Dancers at carnival: Nobles and Townsfolk of Verona: Conductor: Rolando D Alesio Melinda Witham (12 & 14 Oct) / Sonia Santiago (13 Oct) Alicia Amatriain (12 Oct) / Elisa Badenes (13 Oct) / Hyo-Jung Kang (14 Oct) Jason Reilly (12 Oct) / Roman Novitzky (13 Oct) / Matteo Crockard-Villa (14 Oct) Roman Novitzky (12 Oct) / Martí Fernández Paixà (13 Oct) / Alexander Mc Gowan (14 Oct) Sonia Santiago (12 & 14 Oct) / Daniela Lanzetti (13 Oct) Kirill Kornilov Daniela Lanzetti (12 & 14 Oct) / Anouk van der Weijde (13 Oct) Friedemann Vogel (12 Oct) / David Moore (13 Oct) / Jason Reilly (14 Oct) Martí Fernández Paixà (12 Oct) / Louis Stiens (13 Oct) / Adhonay Soares da Silva (14 Oct) Adhonay Soares da Silva (12 Oct) / Matteo Miccini (13 & 14 Oct) Louis Stiens (12 & 14 Oct) / Cédric Rupp (13 Oct) Louis Stiens (12 & 14 Oct) / Cédric Rupp (13 Oct) Anouk van der Weijde (12 & 14 Oct) / Rocio Aleman (13 Oct) Angelina Zuccarini (12 & 14 Oct) / Katarzyna Kozielska (13 Oct) Ami Morita (12 & 14 Oct) / Elena Bushuyeva (13 Oct) Rocio Aleman (12 & 14 Oct) / Elisa Ghisalberti (13 Oct) Noan Alves (12 & 14 Oct) / Alexander Mc Gowan (13 Oct) Katarzyna Kozielska (12 & 14 Oct) / Aurora De Mori (13 Oct) Paula Rezende (12 & 14 Oct) / Alisa Scetinina (13 Oct) Fabio Adorisio (12 & 14 Oct) / Alessandrio Giaquinto (13 Oct) Ludovico Pace (12 & 14 Oct) / Timoor Afshar (13 Oct) Corps de ballet James Tuggle (12 & 14 Oct) / Wolfgang Heinz (13 Oct) John Cranko Choreographer/Director of the Stuttgart Ballet John Cranko was born on August 15, 1927 in Rustenburg, South Africa. He received his dance education mainly at the University of Cape Town, where he also choreographed his first ballet to Stravinsky s Suite from The Soldier s Tale. In 1946, he continued his studies at the Sadler s Wells School in London and shortly afterwards, became a member of the Sadler s Wells Ballet (subsequently the Royal Ballet). In 1947, Cranko made an acclaimed choreography to Debussy s Children s Corner for the Sadler s Wells Ballet; from 1949 on he devoted himself exclusively to choreography, producing extremely successful ballets mostly for the Sadler s Wells Ballet. In 1955, he choreographed La Belle Hélène for the Paris Opera Ballet, and in 1957 he created his first full-length ballet, The Prince of the Pagodas, for the Royal Ballet. In 1961, John Cranko was appointed ballet director in Stuttgart by Walter Erich Schaefer, the General Director of the Württemberg State Theatre (today s Stuttgart State Theater). At the beginning of his time in Stuttgart, Cranko created short ballets and gathered together a group of dancers, among them Ray Barra, Egon Madsen, Richard Cragun, Birgit Keil and, most importantly, a young Brazilian dancer named Marcia Haydée who was to become his prime muse and inspiration. The breakthrough for Cranko came in December 1962 with the world premiere of Romeo and Juliet, which was highly praised by critics and audience alike. In Stuttgart, Cranko created many small choreographic jewels such as Jeu de cartes and Opus I, as well as his symphonic ballet Initials R.B.M.E., but it was with his dramatic story ballets such as Onegin, The Taming of the Shrew, Poéme de l Extase and Traces that Cranko secured his place in the pantheon of great choreographers. In addition, he encouraged young dancers in his company including Jiří Kylián and John Neumeier to try their hand at choreography. Cranko s gift for nuanced story-telling, clear dramatic structure and his exquisite mastery of the art of the pas de deux conquered New York audiences during a triumphant season at the Metropolitan Opera in Worldwide acclaim soon followed, as Cranko and his young company toured the globe. Cranko s vision to establish a ballet school in Stuttgart where talented young dancers would be trained in close contact with the Ballet Company became reality ten years after his arrival in Stuttgart. The John Cranko School, named after its founder in 1974, was officially opened on 1st December 1971 and was the first school in West Germany which offered a complete education in classical dance recognized with a state diploma. Today more than half the company s dancers are graduates of the John Cranko School. John Cranko died unexpectedly at age 45 on June 26, 1973, on a return flight from a successful USA tour. In his 12 short years as a director, he laid the foundation for what was to become one of the world s leading ballet companies, a company with a tremendously diverse repertory and world class dancers. Subject to change 12 13

9 Jürgen Rose Sets and Costumes Jürgen Rose, a native of Germany, studied at the Art Academy and the Theater Design School in Berlin. In 1959, he had his first engagement as stage designer and actor in Ulm. In 1961, he met John Cranko, who commissioned him to design the sets and costumes for his production of Romeo and Juliet. Following this success, they worked together in Stuttgart on productions such as Swan Lake, Firebird, Onegin, Initials R.B.M.E., Poème de l extase, Traces, and the operetta The Merry Widow. In 1972, Rose began a collaboration with John Neumeier, with whom he has worked on the production of nine ballets including Lady of the Camellias. In 1987, Rose designed sets and costumes for Marcia Haydée s The Sleeping Beauty. In addition to his designs for ballet, Jürgen Rose is an internationally acclaimed designer for opera and theatre and has worked in, among others, Hamburg, Berlin, Munich, Stuttgart, Vienna, Salzburg, Bayreuth, Milan, New York, and London. Reid Anderson Artistic Director of the Stuttgart Ballet Reid Anderson, Artistic Director of the Stuttgart Ballet since September 1996, can look back over a long and successful career as a dancer, ballet master and artistic director. Anderson was born in 1949 in New Westminster, British Columbia/Canada, and began his dance training at the Dolores Kirkwood Academy in Burnaby, B.C. He was given a grant at the age of 17 which allowed him to study at the Royal Ballet School in London, England. One year later, in February 1969, he joined the Stuttgart Ballet. During his 17- year career at the Stuttgart Ballet, Reid Anderson, who was promoted to Soloist in 1974 and to Principal Dancer in 1978, danced in a wide range of classical and contemporary ballets and worked with many of the leading choreographers of the 20th century, such as Kenneth MacMillan, Glen Tetley, John Neumeier, William Forsythe and Jiří Kylián, all of whom created roles for him. From August 1987 to June 1989, Reid Anderson was Artistic Director of Ballet British Columbia in Vancouver and in July 1989 he was appointed Artistic Director of the National Ballet of Canada in Toronto. In 1996, Reid Anderson returned to the Stuttgart Ballet as Artistic Director and was appointed Intendant at the end of that season. From the very outset, Reid Anderson followed a repertoire policy which placed equal weight on preserving and cultivating the Cranko legacy and promoting the works of established contemporary choreographers as well as on discovering and nurturing new talent. Between 1996 and the present, Anderson has presented over 90 world premieres, including eight new full-length ballets. Choreographers who have created works for the Stuttgart Ballet commissioned by Reid Anderson include Wayne McGregor, Sidi Larbi Cherkaoui, Mauro Bigonzetti, Uwe Scholz, David Bintley, Marco Goecke, Edward Clug, Itzik Galili, Christian Spuck, Cayetano Soto and Demis Volpi. Under Anderson s leadership, the Stuttgart Ballet has been invited to perform at, among others, the Bolshoi Theater, the Palais Garnier in Paris, the Coliseum in London and to the New York State Theater at Lincoln Center. Reid Anderson stages and rehearses Cranko s masterpieces for renowned ballet companies all over the world. In February 2006, he was awarded the German Dance Prize for his contribution to the dance in Germany. In the same month, the readers of the popular dance magazine Dance Europe voted Reid Anderson Director of the Year. In April 2009, Reid Anderson received the Medal of Merit of the State of Baden-Württemberg. In 2011, the Stuttgart Ballet under the direction of Reid Anderson was elected Company of the Year in the annual international critics survey of the magazine tanz. In December 2013, the Stuttgart Ballet was awarded the European Culture Award for Dance. In July 2016, the Stuttgart Ballet celebrated Reid Anderson s 20th anniversary as Intendant of the Stuttgart Ballet with a 10-day festival. Tamas Detrich Associate Artistic Director and Ballet Master, Stuttgart Ballet Born in New York, Tamas Detrich is an American of Hungarian descent. He received his initial training at the National Academy of Ballet and Theater Arts, then with David Howard at the Harkness House of Ballet in New York and finally at the John Cranko School in Stuttgart from which he graduated in In the same year, he joined the Stuttgart Ballet where his technical and dramatic abilities were quickly rewarded. He was promoted to Soloist in 1980 and Principal Dancer in During his 25 years as a dancer with the company, he danced all the leading roles of John Cranko s ballets and enraptured audiences around the world with his portrayals of Prince Siegfried in Swan Lake, Romeo in Romeo and Juliet, Onegin and Lenski in Onegin, Petrucchio in The Taming of the Shrew. Furthermore, he danced Armand Duval in The Lady of the Camellias (John Neumeier), leading roles in The Song of the Earth and Requiem (Sir Kenneth MacMillan), Arena and Voluntaries (Glen Tetley), La Sylphide (Peter Schaufuss) as well as in ballets by significant contemporary choreographers: George Balanchine, Maurice Béjart, Hans van Manen, William Forsythe, and Uwe Scholz. The following choreographers have created roles for him: Jiří Kylián (Forgotten Land, Stepping Stones), Maurice Béjart (Operette), Uwe Scholz (Variation-I), David Bintley (Landscape and Memory) and Kevin O Day (dreamdeepdown). Marcia Haydée created the roles of Prince Désiré in The Sleeping Beauty and Albrecht in Giselle and the Wilis for him. At the beginning of the season, Tamas Detrich became a ballet master of the Stuttgart Ballet. In 2004, Artistic Director Reid Anderson appointed Tamas Detrich Artistic Associate of the Stuttgart Ballet. In 2009, he was appointed Associate Artistic Director of the Stuttgart Ballet. In July 2015, the Board of Directors of the State Theater Stuttgart voted unanimously to appoint Tamas Detrich Intendant of the Stuttgart Ballet as of September Tamas Detrich has taught, staged and revived John Cranko s ballets for Stuttgart Ballet and other companies such as the Paris Opera, the Vienna Opera Ballet, the American Ballet Theater as well as in Budapest, Stockholm and Oslo. He has also staged John Neumeier s Othello for Stuttgart Ballet, Marcia Haydée s The Sleeping Beauty for the Royal Ballet of Flanders, Kenneth MacMillan s The Song of the Earth and John Neumeier s A Streetcar named Desire for Hamburg Ballet as well as for the Norwegian National Ballet in Oslo. James Tuggle Music Director James Tuggle was born in Portland, Oregon, USA. He studied conducting in Los Angeles with his mentor Fritz Zweig and continued his education at the Mozarteum in Salzburg, Austria with Otmar Suitner. From 1974 to 1976 James Tuggle was engaged by the San Diego Opera as a conductor. As of 1977 on he was assistant conductor for the three season festival production Der Ring des Nibelungen at the Seattle Opera. In 1982 he gave his debut at the Deutsche Oper Berlin and was immediately offered an engagement as conductor. In 1984, he accepted the position of music director with the Stuttgart Ballet. In addition to the intensive conducting schedule in Stuttgart, this position also gave him the possibility to work with orchestras all over the world. After a very successful debut at the Wiener Staatsoper in 1993, James Tuggle was engaged there as main conductor and musical advisor for the ballet and as opera conductor. From 1996 to 2001, he guested regularly at the Komische Oper Berlin and at the Opera in Rome. In 1997, James Tuggle returned to the Stuttgart Ballet as Music Director, where he conducts a wide repertory of works and tours around the world with the company. In addition to conducting for the ballet, James Tuggle conducts a large repertoire which contains almost all standard works from symphony and opera. He is noted in particular for his performances of the German repertoire of the late 19th century, for which he has received acclaim by colleagues and critics

10 Alicia Amatriain Principal Dancer Kammertaenzerin Elisa Badenes Principal Dancer Hyo-Jung Kang Principal Dancer David Moore Principal Dancer Alicia Amatriain was born in San Sebastian, Spain, where she received her first ballet training. She subsequently attended the John Cranko School in Stuttgart and graduated in She joined the Stuttgart Ballet as an apprentice and was taken into the Stuttgart Ballet s Corps de ballet in In 2002, she was promoted to Principal Dancer. In 2015, she was awarded the national title of Kammertaenzerin, the highest status a dancer can achieve in Germany. Her repertoire includes the leading roles in John Cranko s ballets such as Odette/Odile in Swan Lake, Juliet in Romeo and Juliet, Tatiana in Onegin and Katharina in The Taming of the Shrew as well as a wide range of leading roles in full-length ballets such as the title roles in Giselle (after Coralli, Perrot, Petipa), La Sylphide (Peter Schaufuss after August Bournonville) and The Sleeping Beauty (Marcia Haydée after Petipa), Kitri in Don Quijote (Maximiliano Guerra after Petipa), Marguerite in The Lady of the Camellias and Blanche DuBois in A Streetcar Named Desire (both John Neumeier). In addition, she dances works by, amongst others, George Balanchine, Jerome Robbins, Glen Tetley, Maurice Béjart, Kenneth MacMillan, William Forsythe and Hans van Manen. Several renowned choreographers have created roles for Alicia Amatriain in their ballets, including Wayne McGregor, Itzik Galili, Marco Goecke, Douglas Lee and Demis Volpi. Christian Spuck created the leading role in his ballet Lulu especially for her. Alicia Amatriain has received many honours and prizes such as the Prix Benois de la Danse 2016, the German Theater Prize FAUST in 2015 and the German Dance Prize Future in Guest performances have led her to companies all over the world, including the Bolshoi Ballet, Paris Opera Ballet, Cuban National Ballet, Teatro Colon in Buenos Aires and the State Ballet of Berlin. In addition, she has been a frequent guest with Roberto Bolle and Friends and at the World Ballet Festival in Japan. Elisa Badenes was born in Valencia, Spain. She attended the Conservatorio Profesional de Danza de Valencia. At the Prix de Lausanne in 2008, she won a scholarship for the Royal Ballet School from which she graduated one year later. In the 2009/10 season, Elisa Badenes joined the Stuttgart Ballet as an apprentice. In 2010/11, she was taken into the Corps de ballet. She was promoted to Principal Dancer in 2013/14. Her repertory includes a wide range of leading and solo roles including Odette/Odile in Swan Lake (John Cranko), Giselle (Giselle after Jean Coralli, Jules Perrot, Marius Petipa), Juliet in Romeo and Juliet, Tatiana in Onegin and Katharina in The Taming of the Shrew (John Cranko), Kitri in Don Quijote (Maximiliano Guerra after Petipa), Aurora in The Sleeping Beauty (Marcia Haydée), Desdemona in Othello, and Stella in A Streetcar named Desire (both by John Neumeier) and Effi in La Sylphide (Peter Schaufuss after August Bournonville). In addition, she has danced solo roles in ballets by Jerome Robbins, George Balanchine, Kenneth MacMillan, Hans van Manen, Jiří Kylián, William Forsythe, Jorma Elo and Edward Clug. Choreographers such as Sidi Larbi Cherkaoui, Christian Spuck, Demis Volpi, Wayne McGregor and Mauro Bigonzetti have created roles for her. In 2016 Demis Volpi created the title role in his Salome for her. Elisa Badenes has received several honours and prizes including the Gold medal of the Youth American Grand Prix, the Audience Choice Award of the Erik Bruhn Competition in Toronto in 2011 and the German Dance Prize Future in Hyo-Jung Kang was born and raised in Seoul, Korea. She was trained at the Sunwha Art Middle School in Seoul and the Kirov Academy of Ballet in Washington, D.C., USA. She continued her ballet training at the John Cranko School in Stuttgart from which she graduated in In 2003/04 she joined the Stuttgart Ballet as an apprentice, and in 2004/05, she became a Corps de ballet member. After her debut as Juliet in John Cranko s Romeo and Juliet in 2011, Artistic Director Reid Anderson promoted Hyo-Jung Kang to Principal Dancer. Her repertoire includes a wide range of leading and solo roles such as the title role in La Sylphide (Peter Schaufuss after Bournonville), Giselle (after Coralli, Perrot, Petipa), Princess Aurora in The Sleeping Beauty (Marcia Haydée), Kitri in Don Quijote (Maximiliano Guerra), Manon Lescaut in The Lady of the Camellias (John Neumeier) as well as leading roles in John Cranko s ballets Onegin (Tatiana, Olga), Romeo and Juliet (Julia) and The Taming of the Shrew (Bianca). In addition, Hyo-Jung Kang has performed in ballets by renowned choreographers such as Hans van Manen, Maurice Béjart, Kenneth MacMillan, Jiří Kylián, William Forsythe, Uwe Scholz, Jorma Elo, Itzik Galili and Sidi Larbi Cherkaoui. Several choreographers including Christian Spuck, Douglas Lee, Edward Clug, Kevin O Day, Demis Volpi and Katarzyna Kozielska have created roles for her. David Moore was born in Ipswich, England. He started training at the Angela Rowe School of Dance in his hometown in Two years later, he continued his education at the Royal Ballet School in London from which he graduated in At the beginning of the season 2007/08 David Moore joined the Stuttgart Ballet. In the season 2013/14, he was promoted to Soloist and in to Principal Dancer. His repertoire includes solo roles such as Albrecht in Giselle (after Coralli, Perrot, Petipa), Prince Desiré in The Sleeping Beauty (Marcia Haydée), Romeo in Romeo and Juliet, Lucentio in The Taming of the Shrew, the Prince in The Lady and the Fool (all John Cranko), Basilio in Don Quixote (Maximiliano Guerra), Leonce in Leonce and Lena (Christian Spuck), Cassio in Othello, Allan Grey in A Streetcar named Desire (both John Neumeier) and Gurn in La Sylphide (Peter Schaufuss after Bournonville) as well as roles in ballets by renowned choreographers such as Jerome Robbins, Maurice Béjart, Kenneth MacMillan, Frederick Ashton and Hans van Manen. In 2013, Demis Volpi created the title role in his ballet Krabat especially for him and in 2016 the role of Jochanaan in his ballet Salome. Other choreographers who have created roles for him include Marco Goecke, Edward Clug, Christian Spuck and Katarzyna Kozielska

11 Roman Novitzky Principal Dancer Jason Reilly Principal Dancer Kammertaenzer Friedemann Vogel Principal Dancer Kammertaenzer Martí Fernández Paixà Soloist Roman Novitzky was born in Bratislava, Slovakia, and received his dance training at the Ballet Conservatory in Bratislava from which he graduated in For six years he danced with the National Ballet of Slovakia before joining the Stuttgart Ballet in In 2011/12, he was promoted to Demi-Soloist, in 2013/14, to Soloist, and in September 2015, to Principal Dancer. His repertory includes leading roles in ballets by John Cranko including the title role in Onegin, Paris and Tybalt in Romeo and Juliet, Lucentio and Hortensio in The Taming of the Shrew and the Officer in The Lady and the Fool. In addition, he has danced the leading role in Kenneth MacMillan s Song of the Earth, Gurn in La Sylphide (Peter Schaufuss after Bournonville), des Grieux in Lady of the Camelias (John Neumeier), Jose Antonio in Don Quixote (Maximiliano Guerra) und The Master in Krabat (Demis Volpi). His repertory also includes works by George Balanchine, Maurice Béjart, Glen Tetley, Hans van Manen, Jiří Kylián, Wayne McGregor and Jorma Elo. Internationally acclaimed choreographers such as Mauro Bigonzetti, Edward Clug, Marco Goecke, Christian Spuck and Demis Volpi have created roles especially for him. In 2012 Roman Novitzky choreographed his first ballet for the renowned Noverre-Society s Young Choreographers evening. His second work for the Noverre Society, Are You as Big as Me?, was so successful that it entered the Stuttgart Ballet repertory immediately and has been danced at galas worldwide. Further works have also entered the Stuttgart Ballet repertory. In addition, Roman Novitzky is one of the official photographers for the Stuttgart Ballet. Jason Reilly was born in Toronto, Canada, where he was trained at the National Ballet School Toronto. After his graduation in 1997 he joined the Stuttgart Ballet. In 2003/04, he was appointed Principal Dancer. In September 2015, he was awarded the national title of Kammertaenzer by the Ministry of Culture, the highest status a dancer can achieve in Germany. As one of the Stuttgart Ballet s most versatile Principal Dancers, Jason Reilly has danced a wide range of major roles in full-length ballets by renowned choreographers. His repertoire includes the leading roles in ballets by John Cranko such as Prince Siegfried in Swan Lake, Petrucchio in The Taming of the Shrew and the title roles in Romeo and Juliet and Onegin as well as Prince Desiré in Sleeping Beauty (Marcia Haydée), Basilio in Don Quijote (Maximiliano Guerra), Albrecht in Giselle (after Coralli, Perrot, Petipa), Colas in La Fille mal gardée (Frederick Ashton), Armand Duval in The Lady of the Camellias, the title role in Othello and Stanley Kowalski in A Streetcar Named Desire (all John Neumeier). In addition, Jason Reilly has performed leading roles in ballets by George Balanchine, Maurice Béjart, Jerome Robbins, Hans van Manen, Glen Tetley, William Forsythe, Itzik Galili, Jorma Elo amongst others. Several renowned choreographers have created roles for him, including John Neumeier, Wayne McGregor, Sidi Larbi Cherkaoui, Mauro Bigonzetti, Christian Spuck and Marco Goecke. Kevin O Day created his Hamlet especially for him. Jason Reilly is a regular guest at international galas and with prestigious ballet companies. Friedemann Vogel was born in Stuttgart. He received his initial ballet training at the John Cranko Schule in Stuttgart and subsequently received the John Gilpin scholarship to study with Marika Besobrasova at the Académie de Danse Classique Princesse Grasse in Monaco. He showed his outstanding talent by winning several international ballet competition awards including the Prix de Lausanne and the Erik Bruhn Competition for young dancers in Toronto. At the beginning of the season 1998/99, he joined the Stuttgart Ballet as a member of the Corps de ballet. In June 2002, Friedemann Vogel was appointed to Principal Dancer. In 2015, he was awarded the national title of Kammertaenzer, the highest status a dancer can achieve in Germany. With the Stuttgart Ballet Friedemann Vogel has danced many major roles in full-length ballets by renowned choreographers. His repertoire includes the leading roles in ballets by John Cranko such as Prince Siegfried in Swan Lake, Romeo in Romeo and Juliet and the title role in Onegin as well as Prince Desiré in Sleeping Beauty (Marcia Haydée nach Petipa), Albrecht in Giselle (after Coralli, Perrot, Petipa), James in La Sylphide (Peter Schaufuss) and Armand Duval in The Lady of the Camellias (John Neumeier). Furthermore Friedemann Vogel has performed in ballets by Mikhail Fokine, George Balanchine, Jerome Robbins, Kenneth MacMillan, Maurice Béjart, Glen Tetley, William Forsythe etc. Many choreographers have created roles especially for him, including Wayne McGregor, Mauro Bigonzetti, Sidi Larbi Cherkaoui, Christian Spuck, Itzik Galili and Marco Goecke, who created his full length Orlando for him. Friedemann Vogel is frequently invited to dance as a guest artist by prestigious companies all over the world including the Bolshoi Ballet, English National Ballet, La Scala in Milan and the Mikhailovsky Ballet in St. Petersburg. He is a regular guest at many international galas. Martí Fernández Paixà was born in Reus, Catalonia, Spain and grew up in Montbrió del Camp. From 2008 to 2011, he attended a private ballet school in his hometown, before he came to the John Cranko School in Stuttgart from which he graduated in In the season 2014/15, he became an apprentice with the Stuttgart Ballet, one season later he was taken into the Corps de ballet. In 2016, he was promoted to Demi Soloist; and in 2017, to Soloist. Martí Fernández Paixà s repertory includes solo roles such as Paris and Benvolio in John Cranko s Romeo and Juliet, the title role in Demis Volpi s Krabat, Ali Baba and the Prince of the South in Marcia Haydée s The Sleeping Beauty, Allan Gray in John Neumeier s A Streetcar named Desire, Apollo in Demis Volpi s Death in Venice as well as solo roles in works by Kenneth MacMillan, Jiří Kylián, Hans van Manen, Edward Clug and Marco Goecke. Demis Volpi created the title role in his The Soldier s Tale and the young Syrian in his Salome especially for him

12 John Cranko), the title role in The Soldier s Tale (Demis Volpi) as well as solo roles in works by Kenneth MacMillan, Hans van Manen, Glen Tetley, Maurice Béjart, John Neumeier, William Forsythe, Marcia Haydée, Uwe Scholz and Christian Spuck. Laszlo Berdo, Marco Goecke, Demis Volpi and Roman Novitzky have created roles especially for him. Adhonay Soares da Silva Soloist Matteo Crockard-Villa Demi-Soloist Matteo Miccini Corps de ballet Adhonay Soares da Silva was born in Brazil and received his first ballet classes at the Centro Cultural Gustav Ritter in Goiânia before he joined CEP em Artes Brasileu Franca. At the age of 16, he attended the John Cranko School in Stuttgart from which he graduated in While still a student he received several prizes such as the Prix the Lausanne amongst others. For his graduation performance he danced the solo Notations I IV which Uwe Scholz had created in 1996 for Vladimir Malakhov. In the 2015/16 season, he joined Stuttgart Ballet s Corps de ballet. In January 2017 he was promoted to Soloist. Adhonay Soares da Silva has danced an impressive variety of solo roles such as Basilio in Don Quixote (Maximiliano Guerra), Lucentio in The Taming of the Shrew, Jasper in Pineapple Poll and Benvolio in Romeo and Juliet (all John Cranko), as well as in The Second Detail (William Forsythe), Lucid Dream (Marco Goecke), Faun (Sidi Larbi Cherkaoui), Neurons and Firebreather (Katarzyna Kozielska). In addition, he has danced in ballets by John Neumeier, Uwe Scholz, Marcia Haydée, Demis Volpi, Bridget Breiner and Christian Spuck. Matteo Crockard-Villa was born in Toronto, Canada. He received his dance training at the National Ballet School of Canada and subsequently at the John Cranko School in Stuttgart from which he graduated in In the fall of 2007, he joined the Stuttgart Ballet and was promoted to Demi-Soloist in His repertory includes solo roles such as Tybalt in Romeo and Juliet, Prince Gremin in Onegin, the title role in Don Quixote as well as the Master in Krabat. In addition he has danced in works by Kenneth MacMillan, Hans van Manen, Glen Tetley, Maurice Béjart, John Neumeier, Uwe Scholz and Mauro Bigonzetti. Choreographers such as Christian Spuck, Demis Volpi, Marco Goecke, Douglas Lee and Kevin O Day have created roles especially for him. Alexander Mc Gowan Demi-Soloist Alexander Mc Gowan was born in Austin, Texas. He received his dance training at the School of Ballet Austin ( ), the Central Pennsylvania Youth Ballet ( ), the Orlando Ballet School ( ) and finally at the John Cranko School in Stuttgart, from which he graduated in That same year he joined the Stuttgart Ballet as an apprentice, was taken into the Corps de ballet in 2013 and promoted to Demi-Soloist in Louis Stiens Demi-Soloist Louis Stiens was born in Munich, Germany and received his ballet training at the at the Heinz-Boal- Stiftung in Munich and the John Cranko School in Stuttgart from which he graduated in In 2011, he joined the Stuttgart Ballet as an apprentice, one season later he joined the Corps de ballet. He was promoted to Demi-Soloist in His repertoire includes solo roles such as Gremio in The Taming of the Shrew, Bootface in The Lady and the Fool as well as Mercutio and Benvolio in Romeo and Juliet (all John Cranko). In addition, he has danced solo roles in works by renowned choreographers such as George Balanchine, William Forsythe, Hans van Manen, Glen Tetley, Maurice Béjart, Marcia Haydée, Christian Spuck, Marco Goecke, Edward Clug and Demis Volpi. He made his choreographic debut with the Noverre Society s Young Choreographers programme, and since then has created over 20 works including two commissioned by the Stuttgart Ballet. Matteo Miccini was born in Florence, Italy. He received his first ballet training at the Ballet Centre Florence. In 2010, he continued his education at the John Cranko School, from which he graduated in In the 2015/16 season, he became an apprentice with the Stuttgart Ballet. One season later, he was taken in the Corps de ballet. His repertoire includes solo roles in Lucid Dream, Le Spectre de la Rose (both Marco Goecke), Salome (Demis Volpi) and Dark Glow (Katarzyna Kozielska). His repertory includes leading roles such as Basilio in Don Quixote (Maximiliano Guerra), Paris in Romeo and Juliet and Hortensio in The Taming of the Shrew (both 20 21

13 Stuttgart Ballet Founder John Cranko ( ) Artistic Director Reid Anderson Associate Artistic Director Tamas Detrich Administrative Director Fränzi Günther Music Director James Tuggle Resident Choreographer Marco Goecke Personal Assistant to the Artistic Director Sonja von Droste zu Vischering Principal Dancers Alicia Amatriain Elisa Badenes Miriam Kacerova Hyo-Jung Kang Anna Osadcenko David Moore Roman Novitzky Jason Reilly Friedemann Vogel Soloists Ami Morita Angelina Zuccarini Martí Fernandez Paixa Adhonay Soares da Silva Demi Soloists Rocio Aleman Elena Bushuyeva Jessica Fyfe Katarzyna Kozielska Daniela Lanzetti Agnes Su Veronika Verterich Matteo Crockard-Villa Alexander Mc Gowan Moacir de Oliveira Louis Stiens Corps de ballet Dancers María Andrés Betoret Sinéad Brodd Fernanda De Souza Lopes Aurora De Mori Julliane Franzoi Linhares Alicia Garcia Torronteras Elisa Ghisalberti Vittoria Girelli Mona-Patricia Hartmann Aiara Iturrioz Rico Natalija Miljevic Paula Rezende Joana Romaneiro Daiana Ruiz Alisa Scetinina Anouk van der Weijde Fabio Adorisio Timoor Afshar Noan Alves de Souza Kieran Brooks Mert Erdin Alessandro Giaquinto Shaked Heller Kirill Kornilov Matteo Miccini Adrian Oldenburger Ludovico Pace Flemming Puthenpurayil Cédric Rupp Daniele Silingardi Apprentices Mizuki Amemiya Eva Holland-Nell Diana Ionescu Amber Ray Riccardo Boero Christopher Kunzelmann Fraser Roach Students of the John Cranko School Henrik Erikson Navrin Turnbull Principal Ballet Masters Rolando D Alesio Andria Hall (a.g.) Ballet Masters Yseult Lendvai Thierry Michel Director of Production and Ballet Master Krzysztof Nowogrodzki Scheduling Coordinator and Assistant to the Director of Production Peter Piterka Character Artists Angelika Bulfinsky Sonia Santiago (a.g.) Melinda Witham Rolando D Alesio Assistant Music Director and Conductor Wolfgang Heinz Leading Repetitor Paul Lewis Pianists Alastair Bannerman Maria Kiosseva Valery Laenko Catelijne Smit Director Communications and Dramaturgy Vivien Arnold Assistant Publications Pia Christine Boekhorst Special Events, Community Outreach and Merchandising Christian Bloßfeld Departmental Assistant Communications and Dramaturgy Sina Eger Stephanie Stokker Educational Outreach Nicole Loesaus Katharina Helene Kluge Stage Managers Ekkehard Kleine Janis Vollert Ballet Mistress Extras and Children Angelika Bulfinsky Physical Therapy Matthias Knop Oliver Berroth Ballet Shoes Supervisor Sabine Jahn Video Department Dora Detrich Technical Director, Ballet/Opera Michael Zimmermann Head of Production Crew Axel Schob Cemile Soylu (Deputy) Stage Technicians Karl Heinz Knüpfer Simon Kristo Wolfgang Schreijäg Matthias Möhring Jochen Rieger Markus Schäfer Tilo Schroeter Director of Lighting Reinhard Traub Stefan Seyrich-Hofmeister (Deputy) Lighting Technicians Valentin Däumler Matthias Hettenbach Jens Reschke Thomas Wittlief Director of Sound Engineering Dieter Fenchel Christine Zöller (Deputy) Sound Technician Niko Lazarakopoulos Director of Scenic Workshops Bernhard Leykauf Properties Supervisor Ralph Schaller Props Masters Stephan Dorniok Jens Rank Director of Wardrobe Elke Wolter Wardrobe Production Coordinators Diana Eckmann Nicole Krahl Wardrobe Production Assistant Saskia Kopfnagel Wardrobe Alain Balloy Lucy Franz Johanna Doring Gisela Fluhr Stefan Fuge Susanne Klein Kerstin Stahl Director of Make-up Jörg Müller Make-up Natalie Diehm Jenny Drechsler-Vogel Melanie Jatzkowski Lola Khurramova Anne Poncet Petra Warden Managing Director State Theatre Stuttgart Marc-Oliver Hendriks Special Thanks to our Supernumeraries from the LASALLE College of the Arts Athena Wee Li Fei Callina Yawen Liang Chitra D/O Jeevan Fahim Murshed Felix Long Gay Han Joel James Sunder Iyer Leow Jia Xan Lim Wen Xuan Josh Lim Yu Hong Felix Mamaradlo Pat Jon Gregory Facun Mohamed Faiz Bin Mohamed Ariffin Muhammad Shafiq Haziq Bin Suderman Muhammad Zulkifli Bin Mohamed Salleh Nicholas Ian Lihang Voon Nur Afiq Bin Abdul Talib Nur Farhanah Binte Mohamed Azlee Nur Miza Syazwina Binte Mustafa Rifdee Bin Raziman Tang Xin Hao Joash Vester Ng Kian Soon Yeo Yong Jun 22 23

14 Singapore Lyric Opera Orchestra Singapore Lyric Opera Orchestra is a professional orchestra made up of professionally-trained and seasoned musicians. These musicians are selected based on their versatility and ability to handle and perform challenging repertoire, both in the pit and on stage. The SLO Orchestra made its opera debut in March 2009 in the production of Offenbach s Les contes d Hoffmann and has since worked regularly as the orchestral ensemble for all of SLO s opera productions including Puccini s La Bohème, Mozart s Die Zauberflöte, Bizet s Carmen, Strauss Salome, Mozart s Don Giovanni, Puccini s Manon Lescaut, Puccini s Madama Butterfly, Verdi s La Traviata and Mozart s Così fan tutte, in addition to the many concerts that it has performed such as the annual series of gala concerts at the Esplanade Concert Hall and Opera in the Park in the Singapore Botanic Gardens. The SLO Orchestra had the privilege and honour to perform with international singing sensations, Russell Watson (2010), Katherine Jenkins (2011) and Sarah Brightman (2012) at their debut concerts in Singapore. The Orchestra has also collaborated with Paris Opera Ballet in Giselle (2012), Bolshoi Ballet in Swan Lake (2013), Stuttgart Ballet in Onegin (2014) and English National Ballet in Le Corsaire in May 2015, and with other organisations in the promotion of opera, ballet and popular music. Orchestra List Violin 1 Foo Say Ming ** Lim Shue Churn^ Ye Zhi Matthias Oestringer Wu Bing Ling Chew Lu Min Gerard Chia Gabriel Lee Wang Hao Tan Ting Wei Chen Yong Jiat Lim Wei Yank Violin 2 Siew Yi Li * Ten Cherk Ping Kathleen Koh Wong Sher Maine Guo Lan Meah Tze Chuan Viviane Salin Chen Ying Han Xing Zhi Chia Jit Min Viola Keita Suyama * Jeremy Chiew Christoven Tan Oh Han Ling Hwang Ji Min Jolene Goh May Loh Lim Qing Yang Cello Lin Juan * Chan Si Han Shernise Khor Chen Chia Min Eunice Koh Ryan Sim Double Bass Lee Tsu Hock * Sanche Jagatheesan Chee Wah Wong Damien Kee Mandolin Yong Kai Lin * Daniel Chai Flute Cheryl Lim * Wang Tong Piccolo Sin Jin How Oboe Seow Yibin * Hu Qiu Zi English Horn Frankie Toh Clarinet Vincent Goh * Ralph Emmanuel Lim Bass Clarinet Desmond Chow Tenor Saxophone Jonathan Peng Bassoon Chester Kang * Emerald Chee Contrabassoon Lim Sze Ai French Horn Benedict Chua * Dixie De Souza Marcus Ng Linda Chua Cornet Kenneth Lun * Trumpet Erik Tan Benny Goh Christopher Yong Trombone Samantha Chong * Li Guanlin David Wong Tuba Tan Yao Cong Timpani Lim Meng Keh * Percussion Eugene Toh * Richard Ter Ramu Thiruyanam Harp Jana Ang Fries * SLO Orchestra Librarian Dorean Tan SLO Orchestra Pit Manager Elango Ramayah ** Concert Master ^ Asst Concert Master * Principal It was a new experience and wonderful evening that was simply perfect. We will remember this for a long time. On being hosted to a performance at Esplanade Concert Hall You can help make a difference. Your generous donations will help in creating incredible arts experiences for the underprivileged. For more information, please contact or donations@esplanade.com A Community Engagement Programme by Esplanade Theatres on the Bay 24 Esplanade is a charity and not-for-profit organisation. Help us bring the joy and inspiration of the arts to the different communities, including the underserved. EsplanadeSG EsplanadeSingapore #esplanade

15 We thank you! Esplanade Theatres on the Bay is a not-for-profit arts centre, a charity and an Institution of a Public Character. We sincerely believe that our mission to entertain, engage, educate and inspire through the arts helps to enrich lives and can make a difference to our society. We endeavour to be a centre for everyone, reaching out to as many Singaporeans as possible from all walks of life: students, young talents and artists, families and seniors, including beneficiaries of voluntary welfare organisations. The continued partnership and support of sponsors and donors is critical to our work and makes it possible for us to benefit even more people. We extend our heartfelt thanks to our arts partner, sponsors and donors of 2016/17 for their belief in our mission and their generous support. Arts Partner Gold Roast Food Industry Pte Ltd (Viz Branz) Corporate Sponsors American Express International Inc. Aquamarina Hotel Pte Ltd BFC Development LLP Bowen Enterprises Pte Ltd Brightstar Logistics Pte Ltd Canon Singapore Pte Ltd Central Boulevard Development Pte Ltd China Life Insurance (Singapore) Pte Ltd City Developments Limited CLS International (1993) Pte Ltd Composers and Authors Society of Singapore DBS Bank Ltd DHL Express (Singapore) Pte Ltd DNA, Co., Ltd Dymon Asia Capital (Singapore) Pte Ltd EFG Bank Ltd Embassy of Israel Enviably Me Pte Ltd (Melissa Shoes) Fashion Valet Sg Pte Ltd Field Catering & Supplies Pte Ltd (Polar Water) FoodXervices Inc Pte Ltd Frasers Hospitality Pte Ltd Geneva Master Time Marketing LLP (Patek Philippe) Goethe-Institut Singapore Hong Leong Foundation JCCI Singapore Foundation Limited (Japanese Chamber of Commerce & Industry Singapore) Keppel Corporation Limited Kwan Im Thong Hood Cho Temple Lam Soon Cannery LCH Lockton Pte. Ltd. LianBee-Jeco Pte Ltd (Braun Büffel) LIXIL Corporation LIXIL International Pte Ltd Mapletree Investments Pte Ltd Marina Bay Hotel Pte Ltd Marina Bay Sands Pte Ltd Marina Centre Holdings Pte Ltd Mitsubishi Corporation Mitsubishi Electric Asia Pte Ltd Network for Electronic Transfers (Singapore) Pte Ltd OUE Limited Oversea-Chinese Banking Corporation Limited Precious Treasures Pte Ltd (The Fullerton Heritage) Shell Eastern Petroleum (Pte) Ltd Simmons (SEA) Pte Ltd Singapore Press Holdings Limited Softbank Telecom Singapore Pte Ltd StarHub Ltd Tee Yih Jia Manufacturing Pte Ltd The Pan Pacific Hotel Singapore Tokyo Metropolitan Government Trafalgar TSMP Law Corporation TungLok Group United Parcel Service Singapore Pte Ltd Urban Redevelopment Authority VICOM Ltd ViewQwest Pte Ltd Yamaha Music (Asia) Pte Ltd YCH Group Pte Ltd Donors Anonymous Acom Asian Resources Pte Ltd Adone Image Aetos Security Management Pte Ltd AJ Jetting Pte Ltd Albert Chiu Annabelle Aw Anwar Shaikh Asec Security Events Command Pte Ltd Ask M&E Pte Ltd ATT Systems (S pore) Pte Ltd Benson Puah Building Systems & Diagnostics Pte Ltd CA Facilities Pte Ltd Castlery Private Limited Choo Chiau Beng Christine Gan Chua Lik Ling Chye Thiam Maintenance Pte Ltd Credit Suisse AG David Liao Esmond Loon Eunice Yap Evgeny Tugolukov Fabulous Printers Pte Ltd Fortuna Linea Pte Ltd Fullsun Marketing Pte Ltd George So Herman Ong Incorporated Builders Pte Ltd Infinite Communications (S) Pte Ltd Jeffrey Lam Jennifer Lee Jerusha Tan Jessie Chen KV Aiyappan Knowledge Computers Pte Ltd Lee Chin Chye Lee Foundation Singapore Lee Mun Ping Lin Mingyan Marion Domhoever Mayfield Investment Holdings Pte Ltd Michelle Yeo Mimi Yee Multikind Engineering & Trading Services Nam Hong Builders Pte Ltd Omnisense Systems Pte Ltd Patricia Manning Patrick Chong Philip Choi Poh Mui Hoon Polar Puffs & Cakes Pte Ltd Ravindran s/o Sivalingam Reachfield Security & Safety Management Pte Ltd Richard Eu Robson Lee Sara Joan Fang See Tho Keng Leong Singapore First Aid Training Centre Pte Ltd Susan & Adrian Peh Tan Boon Ngee Tan Chin Tuan Foundation TT Innovation and Technology Pte Ltd Willie Tan Yap Chee Meng Yvonne Tham Tote Board Family Esplanade s Community Programmes are supported by Tote Board Family, comprising Tote Board, Singapore Pools and Singapore Turf Club. Your contribution* helps make a difference. On behalf of the community we serve, thank you! Find out how you too can make a difference through the arts at Esplanade. us at donations@esplanade.com or call to speak with us. Find out more at *Your donation is 250% tax deductible, as Esplanade is a charity and an institution of Public Character.

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18 da:ns series (2016): Dancing with Death by Pichet Klunchun Dance Company Photo credit: Nattapol Meechart Your access to the arts begins with Esplanade. Sign up to enjoy: Savings of up to 15% on shows at Esplanade Exclusive invites to events, workshops and tours Discounts and privileges at selected merchants Save more. Norlina Aljunied Enjoy more. esplanade.com/e-and-me White card: $50, Black card: $500

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