season - Boston Ballet

oston balletMIKKO NISSINENArtistic DirectorVALERIE WILDERExecutive Director2007 2008season

Gene SchiavoneONE NIGHT ONLYFriday, October 12, 2007LA SYLPHIDELA SYLPHIDEOctober 18-28, 2007Choreography: Sorella Englund after August Bournonvillewith two works by George BalanchineSUN M T W TH F SAT1 2 3 4 5 67 8 9 10 11 12 1314 15 16 17 18 19 2021 22 23 24 25 26 272pm28 29 30 312pmFeaturedin 2007Spain Tour7pm 8pm 2 & 8pm7pm 8pm 2 & 8pmErica Cornejo by Gene Schiavone

ROMEO + JULIETJohn Cranko’sROMEO AND JULIETFebruary 14-17 &February 28-March 2, 2008SUN M T W TH F SAT3 4 5 6 7 8 910 11 12 13 14 15 1617 18 19 20 21 22 232 & 7pm*24 25 26 27 28 29 12 2pmCompanyPremiere7pm 8pm* 2 & 8pm7pm 8pm* 2 & 8pmHeather Waymack and Sabi Varga by Gene SchiavoneNEXT GENERATIONNEXT GENERATIONMarch 6-9, 2008Three World Premieres: Jorma Elo, Heather Myers, Helen Pickett;One Company Premiere: Ein Von Viel by Sabrina MatthewsSUN M T W TH F SAT12 3 4 5 6 7 89 10 11 12 13 14 152 & 7pmAll-PremiereProgram7pm 8pm 2 & 8pm16 17 18 19 20 21 2223 24 25 26 27 28 2930 31Kathleen Breen Combes by Erik Tomasson

SWAN LAKESWAN LAKEMay 1-11, 2008Choreography: Mikko Nissinen,after Marius Petipa and Lev IvanovSUN M T W TH F SAT1 2 34 5 6 7 8 9 102pm11 12 13 14 15 16 172pmBostonEncore7pm 8pm 2 & 8pm7pm 8pm 2 & 8pm18 19 20 21 22 23 2425 26 27 28 29 30 31Lorna Feijóo and Nelson Madrigal by Eric AntoniouTHREE MASTERPIECESTHREE MASTERPIECESMay 15-18, 2008CONCERTO BAROCCO by George Balanchine◆ DARK ELEGIES by Antony TudorIN THE UPPER ROOM by Twyla TharpSUN M T W TH F SAT1 2 34 5 6 7 8 9 1011 12 13 14 15 16 177pm 8pm 2 & 8pm18 19 20 21 22 23 242 & 7pm25 26 27 28 29 30 31CompanyPremiere ◆Lazlo Berdo and Susanna Vennerbeck in In The Upper Room by Jerry Berndt

Mikko NissinenArtistic DirectorARTISTIC STAFFArtistic AssociateTrinidad VivesValerie WilderExecutive DirectorBallet Masters Assistant Ballet Master Resident ChoreographerPino Alosa and Artistic Coordinator Jorma EloAnthony RandazzoShannon ParsleyPrincipal DancersROMI BEPPU ERICA CORNEJO LORNA FEIJÓONELSON MADRIGAL CARLOS MOLINA LARISSA PONOMARENKOREYNERIS REYES ROMAN RYKINE KARINE SENECA YURY YANOWSKYSoloistsMELANIE ATKINS MINDAUGAS BAUZYS PAVEL GUREVICHRIE ICHIKAWA JARED REDICK SABI VARGA LIA CIRIOMISA KURANAGA MELISSA HOUGH KATHLEEN BREEN COMBESSecond SoloistsJOHN LAM HEATHER MYERS JOEL PROUTY JAMES WHITESIDECorps de BalletBO BUSBY DANIEL COOPER JAIME DIAZ RAUL CASASOLA BOYKO DOSSEVALTANKHUYAG DUGARAA KRISTA ETTLINGER MEGAN GRAY KATHERINE HARTSELLKELSEY HELLEBUYCK GABOR KAPIN LORIN MATHIS TEMPE OSTERGRENDALAY PARRONDO ANDREY PISAREV KELLEY POTTER JOSEPHINE PRAKATELYN PROMINSKI RAUL SALAMANCA BRADLEY SCHLAGHECKCLAIRE STALLMAN CHRISTIAN SQUIRES KIMBERLY UPHOFF LUCIANA VOLTOLINIHEATHER WAYMACK SARAH WROTH DONG TING XINGDirector of Boston Ballet IIBonnie MathisBoston Ballet IIIsaac Akiba Jeffrey Cirio Paul Craig Alejandro DiazRobert Kretz Caitlin Miller Caitlin PeabodySamuel Shapiro Brittany SummerAssociate ConductorMark ChurchillMusic Director and Principal ConductorJonathan McPheePrincipal Company Pianist/Solo PianistFreda LockerE. VIRGINIA WILLIAMS, FOUNDER10/23/2007

2006-2007 PRESS QUOTES“Mikko Nissinen, Boston Ballet’s director for the last five years, has brought thecompany to the highest level in its history.”Christine Temin, VoiceofDance.com, Fall 2006“The critics have been unanimous in praising the high level of dancing.”Iris Fanger, Dance International, Spring 2007“Under the visionary direction of Mikko Nissinen, Boston Ballet continued to stretch,programming new works by provocative choreographers such as Jorma Elo . . . as well astreasured classics. The company’s production of Rudolf Nureyev’s Don Quixote was abusy, spirited confection, packed with excellent performances throughout the ranks.”Karen Campbell, The Boston Globe 12/31/06Don Quixote• “The Nureyev version that Boston Ballet brought to the Wang last week was abig, boisterous crowd-pleaser of a production- a happy combination of Spanishdance, pure classicism, and comic farce.”Alan Helms, In Newsweekly, 11/8/06“Boston Ballet’s staging of the same ballet four years ago didn’t have the samelevel of accomplishment, either in terms of technical virtuosity or vivid acting.Something has been going on in the company . . . [and] ‘Don Q’ is a perfectexample of true integration of music, dance and drama.”Theodore Bale, Boston Herald, 10/21/06Night of Stars Gala, 2006• “How refreshing to attend the Boston Ballet’s Gala last night at the Wang Theatreand witness some true works of art- dances performed with subtlety and panache,musicality and heart.”Thea Singer, The Boston Globe, 10/26/06• “Coming less than a week after the opening night of ‘Don Quixote,’ this programnot only confirms the high level of technical and artistic skill at Boston Ballet, butits wide-ranging repertory, which spans nearly 200 years of ballet and evenincludes a dance by company member Heather Myers.”

Theodore Bale, Boston Herald, 10/26/06Nutcracker• “Boston Ballet artistic director Mikko Nissinen has choreographed a version ofthe E.T.A. Hoffmann story, to the full Tchaikovsky revels in the theatricallegerdemain that feeds kids’souls.”Thea Singer, The Boston Globe, 12/1/06• “The production, which is true to the original storyline, is full of opulent sets,dazzling costumes and perfect Pointe.”Debra Glidden, Daily Item, 11/30/07A Midsummer Night’s Dream• “Staged by Sandra Jennings, Boston Ballet’s first attempt at Balanchine’s classicis a winner, a gorgeous, spirited production given strong performances throughoutthe ranks, including the excellent orchestra led by Jonathan McPhee.”Karen Campbell, The Boston Globe, 2/10/07• “Consider Nissinen’s impassioned ‘A Midsummer Night’s Dream’ a richvalentine rose for the Hub.”Jules Becker, The Patriot Ledger, 2/10/07• “Most notably it was one of the most expressive ballets the Boston Ballet hasundertaken and successfully danced.”Alex Kelly, The Suffolk Journal, 2/14/07• “I’ll say it up front: if you haven’t already seen Boston Ballet’s new production of‘A Midsummer Night’s Dream’ at the Wang, you’d be a fool to miss one of theremaining five performances. It’s hands-down one of the most charming thingsI’ve ever seen.”Alan Helms, In Newsweekly, 2/21/07• “While the story and choreography are fun, the overall performance melts dance,song, orchestra, and visual art together, warming the audience during these coldwintry days.”Leslie Tamura, Wellesley News, 2/21/07New Visions• “ ‘New Visions’ features three pieces by choreographers making significantmarks on the world of modern ballet.”Karen Campbell, The Boston Globe, 3/1/07• “Unfurling with a satisfying formal clarity complemented by unexpected twistsand turns, ‘Polyphonia’ feels both familiar and unpredictable. After a series of

duets, trios, and a quartet, the finale brilliantly ties together the thematic material.It’s not flashy or sensational, but beautifully constructed, nicely detailed, andthoroughly musical.”Karen Campbell, The Boston Globe, 3/1/07“Elo has choreographed to each notation of the ever-changing music and soundscore in fascinating ways . . . . [‘Brake the Eyes is] a stunner.”Iris Fanger, The Patriot Ledger, 3/2/07“There was a gorgeous duet for Lorna Feijoo and Yury Yanowsky as well assome delicious solos, especially a twitchy little number by Erica Cornejo set upby a breathtaking leap that seemed to float from the rafters.”Karen Campbell on Sonata for Two Pianos and Percussion,The Boston Globe, 3/1/2007• “The fusion of rhythmic music and talented dancers of New Visions serves agreater purpose than simple entertainment. The ballet is meant to build up feelingswithin the audience and establish a connection that allows the spectators toobserve art in its most breathtaking form. New Visions achieves this whilebreaking the mold of predictable ballets, producing a groundbreaking show for theeye to admire and the heart to remember.”Kristen Fritz, Berkeley Beacon, 3/15/07Classic Balanchine• Erica Cornejo’s ability to anticipate the music, whether she's spinning into a hopon pointe or stretching into a taut arabesque that seems to originate in her upperback, makes her a physical manifestation of the score rather than a performerdancing to it.Thea Singer, The Boston Globe 5/4/07Giselle• “This is a "Giselle" that stays with you long after you leave the theater. You'll bechilled to the bone, but also warmed to the heart.”Thea Singer, The Boston Globe 5/11/07• “The extraordinary magic of Boston Ballet’s Giselle is the product of a strikinglymatured dance company with a new chance to perform the romantic 19th Centuryballet.”Sue Katz, EDGE Boston 5/11/07

Spain Tour• “Boston Ballet has presented a work well done, a lesson of quality, in anintelligent and beautiful program that allows one to see the different facets of thegreat classical dance reformist, Balanchine. The three pieces are extraordinary,the lyricism of “Serenade” the self-assurance of “Who Cares?” and the perfectdepiction of “The Four Temperaments” find a perfect answer in the Boston BalletCompany”ABC (Madrid)• “Serenade had stupendous moments; The Four Temperaments was pure strongdance, and was the most brilliant performance of the evening.”El Mundo (Madrid)Night of Stars Gala, 2007• “Mikko Nissinen, artistic director of the Boston Ballet, has turned gala-makinginto something of an art…. This company, it seems, can do almost anything.”Thea Singer, The Boston Globe 10/13/07

THE HISTORY OF BOSTON BALLETBoston Ballet, founded in 1963 by E. Virginia Williams, was the first professionalrepertory ballet company in New England. The Ballet’s national and internationalreputation developed under the leadership of Artistic Directors Violette Verdy (1980-1984), Bruce Marks (1985-1997), and Anna-Marie Holmes (1997-2000). Today, theCompany is one of the major ballet companies in North America and among the topcompanies in the world. Current Artistic Director Mikko Nissinen was selected to leadBoston Ballet in September 2001. Under his exceptional artistic direction, Boston Balletpresents choreography of the highest caliber and offers great variety in repertoire,allowing dancers to grow in new directions. In 2002, Valerie Wilder was appointed theCompany’s new executive director, establishing an outstanding leadership team withNissinen to move the Company into the future.Throughout its history, Boston Ballet has been a pioneer. In 1979, Boston Ballet openedthe Nervi Festival in Italy, and in 1980 was the first American dance company to performin the People's Republic of China. The Company made its London premiere in 1981, witha full-length production of Swan Lake. In 1983, Boston Ballet presented Don Quixote onBroadway with Rudolf Nureyev as special guest artist, after touring the United States,Mexico, France, and Italy. The Company collaborated with choreographer Mark Morrisfor the first time in 1986, performing his Mort Subite at the PepsiCo Festival in Purchase,New York. The following year Boston Ballet was the first ballet company to perform atthe prestigious BESSIE Dance and Performance award ceremony at City Center in NewYork. Boston Ballet was the first major dance company to commission works fromcontemporary choreographers Mark Morris, Susan Marshall, Ralph Lemon, and ElisaMonte.In May 1990, Natalia Dudinskaya and Konstantin Sergeyev, along with then-artisticdirector Anna-Marie Holmes, staged a new production of Swan Lake featuring BostonBallet dancers performing the leading roles with dancers from The Kirov Ballet and TheBolshoi Ballet. This historic production attracted international attention and broughtBoston Ballet to the forefront of the international dance scene. In recent years theCompany has added Michael Corder's award-winning Cinderella, the American premiereof Le Corsaire, and John Cranko's Onegin and The Taming of the Shrew to its repertoire.The Company made a triumphant debut at The Kennedy Center in Washington, D.C., inJanuary 1990. In July 1991, Boston Ballet toured throughout Spain. The companyrecently completed a second tour of Spain to audience and critical acclaim.

Boston Ballet's primary performance venue is the 3,600-seat Wang Theatre in Boston,Massachusetts. Boston Ballet's month-long production of The Nutcracker is performed atThe Opera House.Boston Ballet is committed to maintaining a repertoire that combines timeless classicssuch as The Sleeping Beauty, La Sylphide, Swan Lake, and Romeo and Juliet, with theimaginative visions of today's most innovative choreographers. To preserve the integrityof the classics, the Company invites legendary dancers and choreographers to assist withstaging and coaching, thus assuring that their talents and experiences are handed downthrough the generations.The Company does much more than just offer performances. Boston Ballet operates anaffiliate school with more than 2,000 students; in addition to dance classes for ages 3through 21, the Boston Ballet Center for Dance Education offers numerous educationaland outreach activities for the community. Programs include Boston Ballet School,Education and Outreach, Young Dancers’ Summer Workshop, Summer Dance Program,Citydance, Taking Steps, Dance Lab, and Adaptive Dance.The Company’s headquarters at 19 Clarendon Street in Boston’s South Endneighborhood is one of the largest and best-equipped dance spaces in the country.Designed by renowned architect Graham Gund, this five-story, 60,000-square-footbuilding is an important hub for dance in New England.The Company's achievements, coupled with the generous and prestigious support ofnumerous local and national funding sources, have dramatically strengthened BostonBallet’s position as a world-class ballet company within the local, national, andinternational arts communities.

BOSTON BALLET SCHOOL FACT SHEETBackground: Boston Ballet School, celebrated its 50th year in 2004, was founded by E.Virginia Williams whose vision was to establish a world-class dance educational facilityin the region. The program was officially incorporated as the Boston Ballet School in1979 and since then has grown from a small, regional dance studio into a world-classdance education institution that now also encompasses Young Dancers SummerWorkshop, Summer Dance Program, DanceLab, Citydance, Adaptive Dance, and TakingSteps.Enrollment: Students aged nine and older with previous ballet training, are required totake a placement class to determine the level of study best suited to their abilities. Groupplacement classes are typically held at each studio in May for September enrollment.Facilities & Locations: Each of Boston Ballet School’s three schools set the stage for apositive, educational dance experience. Basic ballet classes for students of all ages areoffered in the Ballet’s South End Boston studios, in the MetroWest studios in Newton,and in Norwell on the South Shore. Each state-of-the-art facility is temperature-controlledfor comfort, and each features convenient dressing rooms and lounges.Staff and Faculty: Boston Ballet School's renowned reputation and direct affiliation withBoston Ballet continues to attract some of the most highly trained professional danceteachers in the world. Many of the instructors employed by the School have enjoyedcelebrated performance careers both nationally and abroad. The collective wisdom andexperience of the entire staff encourages the exploration of innovative and effectiveteaching methods that help students learn in a lively, stimulating environment.Principals: Tamara King, MetroWest Studio, Christine Busch, South Shore StudioAssociate Director, Boston Ballet Center for Dance Education: Margaret TraceyContact Information: BOSTON BALLET SCHOOL19 Clarendon StreetBoston, MA 02116(617) 456-6264Announcement: Select Boston Ballet School students will perform in this year’sNutcracker with the Boston Ballet. Tickets for the production are on sale now!

BOSTON BALLET IIBoston Ballet II (BBII) is the exciting pre-professional program in residence at BostonBallet. Under the direction of Bonnie Mathis, members of BBII are young dancers ofoutstanding ability who are challenged to improve artistically and technically so they mayreach their full potential. BBII dancers are trained in their own daily ballet class, as wellas taking class with the company.BBII members have the opportunity to gain professional exposure and train with BostonBallet’s artistic staff and artistic director, as well as with guest choreographers anddirectors from distinguished American and international companies.To continue their development in dance, BBII dancers are also required to take classeswith the Boston Ballet Center for Dance Education, whenever free from companyrehearsals or obligations. BBII offers invaluable professional experience by performingits own programs and by touring to schools throughout New England and appearing inthe Young Audiences of Massachusetts program: an exciting series designed to introduceballet to new audiences and develop audience appreciation for ballet as an art form. Anindispensable and important part of their training is to gain performing experience byunderstudying and appearing regularly with the Boston Ballet.BBII members have gone on to professional dance careers in many American andinternational companies, including Boston Ballet, Netherlands Dance Theatre, CincinnatiBallet, Tulsa Ballet, Royal Ballet of Flanders, Houston Ballet, and American BalletTheatre.BBII members receive a weekly stipend, full health and dental benefits, and a full shoeallowance. They also have access to Pilates and Gyrotonics training, as well as theCompany’s full-time physical therapy staff.Auditions for BBII are held each year, information can be found onwww.bostonballet.org. For additional information please contact Company ManagerKirsten Hwang at 617.456.6203 or khwang@bostonballet.org

BIO: MIKKO NISSINEN, Artistic DirectorMikko Nissinen is recognized internationally as an accomplished dancer, teacher and artisticdirector. He assumed the position of artistic director of Boston Ballet and the Boston BalletCenter for Dance Education in September 2001.Born in Helsinki, Finland, Nissinen began his dance training at age ten with The Finnish NationalBallet School. He launched his dance career at age 15, and immediately began performing soloistroles. In 1978, he won First Prize at The National Ballet Competition in Kuopio, Finland. Thefollowing year he continued his studies at The Kirov Ballet School. Nissinen went on to dancewith Dutch National Ballet, Basel Ballet and San Francisco Ballet, where he held the position ofprincipal dancer for ten years, until he retired from the stage in 1996. During Nissinen'sperformance career his vast repertoire ranged from classical to contemporary works. As a guestartist, he danced at numerous international galas and with many different companies and partners.Nissinen was appointed artistic director of the Marin Ballet in San Rafael, California in 1996.Two years later he was appointed artistic director of Alberta Ballet, in Calgary, Canada. UnderNissinen’s leadership, Alberta Ballet’s performance schedule, touring and global visibility wereincreased.As artistic director of Boston Ballet, Nissinen has defined the Company’s image with classicaland neo-classical works, ranging from full-length ballets including Cranko’s Onegin, Ashton’s LaFille mal gardée, Nureyev’s Don Quixote, Sergeyev’s The Sleeping Beauty and Bournonville’sLa Sylphide, to masterworks by George Balanchine, to new works and world premieres by someof the finest contemporary choreographers including William Forsythe, Jiří Kylián, JamesKudelka, Peter Martins, Mark Morris, Val Caniparoli, David Dawson, Christopher Wheeldon,Helen Pickett, and Resident Choreographer Jorma Elo.In 1992 Nissinen appeared on the cover of Dance magazine with a corresponding feature article,and was profiled on CNN Worldwide. Dance magazine also profiled Nissinen and Boston Balletin January, 2003. In July 2002, Nissinen was a fellow at the Executive Program for NonprofitLeaders in the Arts at the Stanford Graduate School of Business.For Boston Ballet, Nissinen choreographed The Nutcracker in 2003, Swan Lake in 2004, andRaymonda, Act III in 2006. He has been on the jury of the Prix de Lausanne, Benois de la Danse,Japan Grand Prix and the Helsinki International Ballet competition, and his knowledge of andinterest in dance history have made him a popular presenter at conferences. Nissinen is a memberof the Artistic Committee for the New York Choreographic Institute. He is also an advisory boardmember of The Albert Schweitzer Fellowship, and the recipient of the 2007 United NationsAssociation of Greater Boston Leadership Award.

BIO: VALERIE WILDER, Executive DirectorValerie Wilder was appointed executive director of Boston Ballet and the Boston Ballet Centerfor Dance Education in 2002. A former performing artist, she is a respected and successfulexecutive with over twenty years of experience in leading major arts organizations.Prior to assuming her position in Boston, Ms. Wilder served as executive director of the NationalBallet of Canada from 1996 to 2002, associate director from 1986 to 1996 and before that as thecompany’s artistic director. As executive director she initiated the pre-funding and producing ofnumerous new works, moved the company into a new building, helped the organization transitionto a new artistic director, retired a $4 million accumulated deficit and tripled endowment funds.Ms Wilder joined the National Ballet of Canada as a dancer in 1970 after training in Japan, atBritain's venerable Royal Ballet School in London, and the National Ballet School in Toronto.During a performing career that included extensive international touring, she served on thegoverning council of Canadian Actor’s Equity Association and on the National Ballet Board ofDirectors. Upon retiring from the stage and until she re-joined the National Ballet’s managementteam, Ms. Wilder incorporated a firm dedicated to managing the financial affairs of more thanone hundred performing artists and other arts professionals.She has served on many non profit boards including the Toronto Arts Council, the CanadianAssociation of Professional Dance Organizations and Dance USA, where she was vice chair from2002-2004 and currently chairs the trustee committee. In Canada, she frequently participated inpublic policy development for federal, provincial and local levels of government includingappointments to two federal task forces for the Canadian Department of Heritage. She has servedas advisor to the Ontario Arts Council, Toronto City Council, the Dancer Transition Center andfor eight years at the Canada Council as a member of its Dance Advisory Council.Ms. Wilder is a regular panelist and speaker at conferences and seminars in Canada, the U.S. andinternationally. Since arriving in Boston in 2002, Ms. Wilder has been an invited speaker at TheBoston Foundation, the Massachusetts Cultural Leadership Conference, the Arts & BusinessCouncil of Greater Boston’s National Arts Forum, and at Harvard Business School. She haslectured at Yale School of Drama, for the MBA program at Simons College, for MIT’s SloanSchool of Management and on non-profit finance at the Graduate Program in Arts Administrationat Boston University.She holds a masters degree in management from McGill University in Montreal and recentlycompleted Harvard Business School’s program, “Strategic Perspectives in NonprofitManagement”.

BIO: JORMA ELO, Resident ChoreographerIn just a few short years, Finnish-born Jorma Elo has become one of the most soughtafterchoreographers in the United States and Europe. Elo, who was named ResidentChoreographer of Boston Ballet in 2005, was singled out as a “talent to follow” by AnnaKisselgoff in her 2004 Year in Review for The New York Times. It was an astuteobservation. He has since created numerous works in the US and internationally,including Slice to Sharp for New York City Ballet, Glow-Stop for American BalletTheatre, Carmen for Boston Ballet, 10 to Hyper M for Royal Danish Ballet, Offcore forFinnish National Ballet and Pointeoff for Aspen Santa Fe Ballet. His From All Sidesdebuted in January 2007 for Hubbard Street Dance Chicago, to a commissioned scorefrom Chicago Symphony Orchestra’s Mead Composer-in- Residence, Mark AnthonyTurnage, and the piece was conducted by Maestro Esa-Pekka Salonen.Elo trained with the Finnish National Ballet School and the Kirov Ballet School inLeningrad. Prior to joining Netherlands Dance Theater in 1990, he danced with FinnishNational Ballet from 1978 through 1984 and with Cullberg Ballet from 1984 to 1990.Throughout his career as a dancer Elo worked closely with numerous masterchoreographers, including Jiří Kylián, Hans van Manen, Mats Ek, Ohad Naharin, WilliamForsythe and Paul Lightfoot.Elo has also received commissions from Basel Ballet, Ballet Debrezen (Hungary),Alberta Ballet (Blank Snow and L’Apres Midi d’un Faune/Spectre de la Rose),Norwegian National Ballet (Cut to Drive, Brake-Green), Finnish National Ballet (Happyis Happy, Twisted Shadow, Two Fast), Stockhom 59° North (in my DREAM team),Netherlands Dance Theatre 1 (1 st Flash and Plan to A), Staatstheater Nurnberg (Slice toCore), Ballet X (Scenes View 2). For Boston Ballet, Elo has created four worldpremieres: Sharp Side of Dark (2002), Plan to B (2004), Carmen (2006), and Brake theEyes (2007). He is also a skilled designer of costumes, lighting and video effects for hisballets.The 2005 Helsinki International Ballet Competition awarded Elo a choreographic prizeand he is the recipient of the Prince Charitable Trust Prize and the Choo-San GohChoreographic Award in 2006. Dance Magazine (April, 2007) featured Elo on their coverwith a corresponding article, and Pointe Magazine named him a Dance VIP of 2006.10/23/2007

BIO: JONATHAN MCPHEE, Music Director and Principal ConductorBoston Ballet Music Director Jonathan McPhee has received critical acclaimfor shaping the musical style and direction of the Boston Ballet Orchestra.In addition to his work at Boston Ballet, he is Music Director for Symphonyby the Sea in Marblehead, Massachusetts, the Longwood Symphony Orchestra, and theLexington Symphony.McPhee is equally at home as a conductor of ballet, opera, and symphony orchestras. Hehas conducted for many of the world's most distinguished dance companies andorchestras. A small sampling includes appearances with New York City Ballet, TheRoyal Ballet, The National Ballet of Canada, The Australian Ballet, Martha GrahamDance Company, The Joffrey Ballet and the Dance Theatre of Harlem. Some of theOrchestras he has conducted include the Hague Philharmonic, San Francisco Symphony,the National Philharmonic Orchestra in London, Boston Pops and the BergenPhilharmonic in Norway. Recent guest conducting appearances include Massenet's opera,Le Jongleur de Notre-Dame with Opera Boston and the Australian Ballet in Sydney.McPhee's arrangements and compositions, published by Boosey & Hawkes, Inc., are inthe repertoires of ballet companies and orchestras around the world and have beenrecorded by several orchestras including the London Symphony Orchestra. His editionsof Stravinsky's Firebird and Rite of Spring are the only reduced orchestrations of theseworks authorized by the Stravinsky Estate.McPhee's best-selling recording of The Nutcracker with Boston Ballet Orchestra has soldover 65,000 copies and his second recording with the Orchestra, Tchaikovsky's TheSleeping Beauty, was released this past season. An educational advocate for music andballet, his work with WCRB Classical 102.5 on "Kids Classical Hour" resulted in a 1998Gabriel Award.Born in Philadelphia, McPhee holds a B.M. and M.M. from The Juilliard School and anL.R.A.M. from the Royal Academy of Music in London, England. He was a student ofSixten Ehrling, Rudolf Kempe, Leonard Brain and Thomas Stacy and had master classeswith Sir Georg Solti and James Levine at JuilliardMcPhee’s position as music director is supported in part by the Beatrice H. BarrettPerformance Fund.10/23/2007

BIO: Ballet MastersTRINIDAD VIVES, ARTISTIC ASSOCIATETrinidad Vives hails from Madrid, Spain. She began her training in Spain with CarminaOcana, Luis Fuente, and Victor Ullate. She was a first-prize medal and scholarshipwinner at the Prix de Lausanne competition and joined the Hamburg Ballet at the age of17 where she was a soloist for six years. She was principal dancer with the Basel Ballet,Dusseldorf Ballet, and English National Ballet in London. Vives received her teachingdiploma from the Royal Conservatory of Dance in Madrid and began teaching at theHouston Ballet Academy in 1994. At Houston Ballet, she was promoted to assistant tothe artistic director in 1998 and was named associate artistic director in 2001. Vives hasstaged Ben Stevenson’s full-length productions and guest taught for several companies,including Boston Ballet, Pittsburgh Ballet and Pennsylvania Ballet. Most recently, Vivesassisted Boston Ballet Artistic Director Mikko Nissinen in staging the Company’s newSwan Lake and was invited to be a guest ballet mistress with Les Ballets de Monte Carlo.ANTHONY RANDAZZO, BALLET MASTERA Michigan native, Anthony Randazzo received his professional training at the NationalBallet School in Toronto, and upon graduation, danced with The National Ballet ofCanada for six years. He later joined San Francisco Ballet as a soloist and was promotedto the rank of principal the following year. Randazzo enjoyed a prominent partnershipwith prima ballerina Evelyn Cisneros for 10 years. Upon leaving San Francisco Ballet,he returned to Toronto as a guest artist with The National Ballet of Canada where he gavehis farewell performance. Randazzo has danced leading roles in many full-lengthproductions including Swan Lake, Sleeping Beauty, La Fille mal gardée, The MerryWidow, Romeo and Juliet and performed leading roles in works by Balanchine, Kylián,Forsythe, Tomasson, and de Mille. After his retirement from the stage, Randazzo becameCo-Director of Randazzo Dance, originally founded by his mother, Marjorie Randazzo,over 50 years ago.PINO ALOSA, BALLET MASTERAlosa began his studies at a private dance school in Rome. He continued his training withVictor Litvinoff, Margarita Trayanova, Tuccio Rigano (Rome Opera Ballet), RobertStrajner, Walter Venditti (La Scala of Milan), Ricardo Nunez (San Carlo of Naples) and

Ecole Superieure de Danse Rosella Hightower in Cannes. He also studied with DavidHoward and Stanley Williams in New York. As a dancer, Alosa’s technical mastery andversatility have enabled him to perform various techniques: modern, contemporary, andespecially classical ballet. He has performed as a soloist and principal with Italian andinternational dance companies, including Louis Falco Dance Company, Grand Théâtre deGenève, Teatro La Fenice (Venice), Teatro La Scala, Teatro Petruzzelli of Bari,Aterballetto of Reggio Emilia, Compagnia del Balletto Classico, Compagnia Artedanzaand Compagnia Italiana di Danza Contemporanea of Rome. Alosa is a talentedchoreographer and one of Italy’s most prominent teachers. As a choreographer, hisneoclassical works are distinguished by unusually brilliant technique. His solo Rain Manwon the Vignale Danza International Competition in 1992. For six years (1996-2001)Alosa was ballet master at the Bordeaux Opera Ballet, directed by Charles Jude (formerlyof Paris Opera Ballet). He has also been guest ballet master for numerous internationalballet companies. Alosa is a frequent jurist for company auditions, dance competitionsand dance school exams.BONNIE MATHIS, DIRECTOR OF BOSTON BALLET IIBonnie Mathis was born in Milwaukee, Wisconsin, where she received her early ballettraining with Roberta Rehberg. She went on to study with Antony Tudor, David Howard,and at the Juilliard School. Adept at a variety of styles, Mathis performed with theHarkness Ballet, Paul Taylor Dance Company, Lar Lubovitch Dance Company, EglevskyBallet, American Ballet Theatre (where she became a principal dancer) and NederlandsDans Theatre under Jiří Kylián. She also appeared in summer stock, at Radio City MusicHall, and was in the original cast of Hello, Dolly! on Broadway. When her performingcareer ended, Mathis became a noted teacher and administrator. In addition to foundingBallet Arts Minnesota, where she was artistic director for fifteen years, Mathis has been amember of the faculty at the University of Minnesota, coached the James Sewell Ballet,and taught American Ballet Theatre’s summer sessions. Mathis is on the faculty ofMartine van Hamel’s Extreme Ballet Workshop at Kaatsbaan International Dance Center,and is also the creative force behind Springboard Dance, a pre-professional trainingprogram providing technique classes, performances and the opportunity to learn classicalballets and develop new works.SHANNON PARSLEY, ASSISTANT BALLET MASTER AND ARTISTICCOORDINATORShannon Parsley is a native Texan and joins the artistic staff in her third role with theorganization, having performed as a dancer in the Company and a teacher in BostonBallet School. She began her dancing career with the Fort Worth Ballet, followed by theMiami City Ballet. Ms. Parsley joined Boston Ballet in 2002 while continuing to dance asa soloist with the Suzanne Farrell Ballet. Some of her many roles include Balanchine’sEmeralds, Who Cares?, Agon, Duo Concertante, La Source, Divertimento #15, Apolloand the revival of Divertimento Brillante. In 2004, she danced at the Kennedy CenterHonors in recognition of Suzanne Farrell. She has also appeared as a guest artist with

Angel Corella. In 2005, Ms. Parsley traveled to the Edinburgh Festival in Scotland tostage the children in Balanchine’s Don Quixote for the Suzanne Farrell Ballet. She wasinvited by the Balanchine Trust to stage Serenade for the North Carolina School of theArts and assisted on the staging of the children for last year’s Boston Ballet production ofA Midsummer Nights Dream.