The Lied CenTer for Performing ArTs PresenTs

chris botti February 21, 2013

This presentation is made possible in part with generous support from Elizabeth Rubendall Charitable Trust, the Hoppe Law Firm LLC and Chateau Development LLC.

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Since the release of his 2004 critically acclaimed CD When I Fall In Love, Chris Botti (pronounced boat-tee) has become the largest selling American jazz instrumental artist. His success has crossed over to audiences usually reserved for pop music and his ongoing association with PBS has led to four #1 jazz albums, as well as multiple Gold, Platinum and GrAmmy Awards.

Over the past three decades, he has recorded and performed with the best in music; including Frank Sinatra, Sting, Josh Groban, michael Buble, Paul Simon, Joni mitchell, John mayer, Andrea Bocelli, Joshua Bell and Aerosmiths own Steven Tyler.

Hitting the road for 250 plus days per year, Chris and his incredible band have performed with many of the finest symphonies, at some of the worlds most prestigious venues, including performances at the World Series and Nobel Peace Prize Ceremony.

People Magazine voted Chris one of the 50 most Beautiful People in 2004.

about chris botti

about impressionsColumbia Records Recording Artist Chris Botti Expresses His Love for Romantic Melodies from Across the World on His New Album, Impressions.

Playing with his uniquely expressive sound and soaring musical imagination, trumpeter Chris Botti is joined by featured artists Andrea Bocelli, Vince Gill, Herbie Hancock, Mark Knopfler, David Foster and Caroline Campbell in a warm, intimate celebration of melodic balladry.

Impressions, trumpeter Chris Bottis new Columbia records CD, is the latest in a stellar parade of albums starting with 2004s When I Fall In Love and continuing with To Love Again, Italia and the CD/DVD Chris Botti In

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Boston that have firmly established him as the worlds largest-selling jazz instrumentalist. Add to that a cluster of GrAmmy nominations and four #1 albums on Billboards Jazz Albums listings.

As Botti began his planning for the new album, he was determined to do some familiar songs for Impressions, songs that reached back to his fascination with the melody and balladry that have been essential to his music since he first picked up a trumpet.

Songs such as What A Wonderful World, Summertime and Over the Rainbow certainly fulfill that desire. But the albums far-ranging program also encompasses many other areas, deeply influenced by conversations Botti had with fans during the busy, world-wide touring that keeps him on the road as much as 300 days a year.

People kept mentioning Chris Botti In Boston, he recalls. They loved the music in that program. But they talked a lot about the variety among the performers, too yo yo ma, Steven Tyler, Sting, John mayer, Josh Groban.

Unlike the Boston album, however, Impressions was planned as a studio recording rather than a concert performance. So Botti and his manager/producer, Bobby Colomby, put together a wish list of possible guest artists. The game plan: to match the variety in music and performers present in Chris Botti In Boston, but to do so in a very different way. At the top of the wish list, the legendary rocker from the band Dire Straits, Mark Knopfler.

We had the idea, says Botti, of asking mark to sing What A Wonderful World. How much more different could we get than that?

When Knopfler, who rarely sings songs by other writers, agreed to do the tune, the first important piece of the album was in place. Others quickly followed, some from unlikely sources.

Botti had been commissioned to do his version of "Chopins Prelude No. 20 in C minor," and perform it in Warsaw for the 200th anniversary of the composers birth. Always intrigued by the opportunity to take a classical work and, as he explains it, play with the time, move things around, Botti accepted the commission. And I immediately realized, he adds, that 'Prelude' could be the starting point for Impressions, as well."

Another serendipitous event a concert at the White House added a completely unexpected composition to the program. After Botti performed with pianist, Herbie Hancock, a state dinner for the President of China, Colomby suggested they compose a piece together. An afternoon of free

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improvising at Hancocks house resulted in "Tango Suite", and Hancocks presence as a guest on the album.

A similar afternoon of creative compatibility this time between Botti and pianist/composer/producer, David Foster, with lyrics by Tiziano Ferro produced Per Te. Sung by the incomparable tenor of Andrea Bocelli, it already sounds like a classic.

Country star, Vince Gill, doing randy Newmans Losing you, was another of the albums featured artists, his conversational, story-telling style adding more of the variety that Botti and Colomby were slowly accumulating for the album.

At the suggestion of arranger mendoza, Colomby brought Brazilian guitarist Leonardo Amuedo to the studio, a further vital element was added. Wed heard a lot of other guitar players, and liked everything they did, says Botti.

But as soon as we heard Leo, we just started replacing all the guitar parts wed already recorded. His beautiful, nylon classic Spanish guitar sound is all over this record. And especially present in Brazilian songwriter Ivan Lins lovely Setembro, the soaring lines of rodrigos En Aranjuez Con Tu Amor, Over the rainbow and the contemplative Botti/Amuedo duet interpretation of r. Kellys you Are Not Alone, a hit for michael Jackson.

Three other pieces brought more of the variety Botti was seeking. Oblivion is an stor Piazzolla tango, originally written for a chamber ensemble, here a romantic vehicle for Bottis trumpet. Sevdah, with its cinematic Eastern European qualities and dramatic choral climax offers yet another hue to Impressions many musical colors. And Contigo en La Distancia adds the rich sensuality of a Cuban bolero.

As the songs began to accumulate, producer Colomby insisted on maintaining an open-minded receptivity, eager to allow the creative process leeway to produce the best possible results. His attitude, says Botti, was that it would be okay to record 19 songs even if we only used 13. Thats the way it turned out, and it was the right way to do it.

Botti seemed destined to become a musician even to become the kind of musician he is today almost from the very beginning. Born in Portland, Oregon, he was encouraged to pursue music by his mother, a concert pianist. He also had an early taste of the international world that would become his primary territory as a successful performing artist. His father, who is Italian, taught English and Italian languages, and he took the family to live in Italy for several years, beginning when Botti was in the first grade.

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I was speaking fluent Italian before we came back, he recalls. But, sadly, Ive forgotten most of it.

That he still feels a firm connection with his Italian roots, however, was fully manifest in the title song he composed with David Foster, for the album, Italia.

A different, but equally significant connection took place when Botti was twelve, and he heard miles Davis play my Funny Valentine. The impact it had not only persuaded him to make a life-time commitment to the trumpet, it also launched the affection for melody, space and balance that have been intrinsic aspects of Bottis musical vision.

After attending Indiana University, and studying with the highly regarded jazz educator, David Baker, the great trumpet teacher, Bill Adam, jazz trumpeter, Woody Shaw, and jazz saxophonist, George Coleman, he moved to New york in the mid-80s.

His early career was spent crafting his skills in settings reaching from the Buddy rich Big Band and Frank Sinatra to Natalie Cole and Joni mitchell. Throughout the 90s and into the new century, Botti played extensively with Paul Simon, and had an especially creative association with Sting.

Those gigs and those relationships were, he says, powerful learning experiences.

Watching artists like Sting and Paul and Joni mitchell, explains Botti, how they get in and out of songs, how they introduce people, whether they would do this or that sort of thing, what they would say about one of their players. All that was a huge asset for me. I wouldnt be the performer I am today without that background.

Now a major artist in his own right, performing worldwide, selling more than three million albums, he has found a form of creative expression that begins in jazz and expands beyond the limits of any single genre. With Impressions and the albums that preceded it, Chris Botti has thoroughly established himself as one of the important, innovative figures of the contemporary music world.

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sponsor storyThe Elizabeth rubendall Foundation and The Hoppe Law Firm are proud to co-sponsor Chris Botti.

Elizabeth rubendall retired as a librarian at Love Library, University of Nebraska, Lincoln. She enjoyed dogs, birds and the arts. She particularly liked and supported the Lied Center. Her support continues through the Elizabeth rubendall Foundation which is managed by Fred Hoppe, the founding partner of The Hoppe Law Firm.

The Hoppe Law Firm, LLC, has been serving Nebraska clients since 1990. Our lawyers offer dedicated representation in a wide variety of legal matters. We provide outstanding service in real estate law, business and commercial law, estate planning, banking law, elder law, landlord/tenant law and construction law, including litigation. We emphasize real estate law for real estate professionals.

Hoppe Law has built a successful practice by focusing on the needs and goals of our clients.

Whether you need a real estate attorney for a transaction or to represent you in litigation, or you need help establishing a new business, we take the time to explain your options and discuss your situation. Our focus on quality service has helped us build long-standing relationships with our clients. We believe that trust and understanding are important to providing the best possible advice.

When you call the Hoppe Law Firm, you will always speak with a person. Accessibility, integrity and sound judgment are the principles upon which we build our practice. We represent individuals and businesses in all court proceedings and transactions that deal with property and the structures attached to it.

Our results-oriented representation is designed to take into account the short and long-term goals of our clients. Whatever your legal needs, contact us to schedule a consultation with a knowledgeable attorney.

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sponsor storyAs a family-run business, Chateau Development, LLC, has served the residents of Lincoln, Nebraska, for nearly forty years. Now operated by a second generation of family members, Chateau Development offers an ideal blend of comfort, privacy, style, and convenience. With over 1,200 apartments and town-homes on two different campuses, the firm provides rental opportunities to suit every lifestyle.

recognizing the companys commitment to service, Lincoln-area residents have voted Chateau Development as the Best Apartment Community of Lincoln for the past twelve years running through KFOrs annual Best of Lincoln polling. most recently, Chateau Development also won top honors in Lincoln Journal Stars first ever Peoples Choice Awards for Best Apartment Community. Chateau Development offers a wide selection of apartments and town-homes with an array of unique floor plans. Conveniently located near shopping, schools, and recreation facilities, the firm operates seven communities serving both North and South Lincoln.

In addition to offering a top-notch living experience, Chateau Development maintains an active role in the community supporting such organizations as the LPS Foundation, the Child Guidance Center and the ymCA.

music is a family tradition for the owners of Chateau Development. The founder, Otto Gaspar, attended the Conservatory in Vienna for classical piano and his son, Stefan, attended the renowned Berklee College of music in Boston. As a guitarist and saxophonist, Stefan has released several jazz CDs of his own music. Therefore, we applaud the Lied Center for their tireless commitment to the arts. We are honored to sponsor this program and proudly welcome GrAmmy Nominee and world renowned jazz trumpeter, Chris Botti, as he transports us into the wondrous world of his music.

abendmusik.org(402) 476-9933

Thank You Red Cross First Aid Team

Thank you to these licensed emergency medical responders registered with the state of Nebraska for volunteering their time through the Cornhusker Chapter of the American Red Cross to make sure their neighbors are safe at the Lied Center and across the community.

The Lied CenTer for Performing ArTs PresenTs

the joFFrey ballet

March 2, 2013

This presentation is made possible in part with generous support from Dr. Cori S. Amend, Ryan Sothan, Kris L. Baack, Ph.D., Jane Aalborg and The Burket Graf Endowment. Co-presented with the Interdisciplinary Arts Symposium (IAS).

This presentation is supported in part by an award from Mid-America Arts Alliance, the National Endowment for the Arts, the Nebraska Arts Council, and foundations, corporations and individuals throughout Arkansas, Kansas, Missouri, Nebraska, Oklahoma, and Texas.

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ASHLEy C. WHEATErArtistic Director

CHrISTOPHEr CLINTON CONWAyExecutive Director

rOBErT JOFFrEyFounder

GErALD ArPINOFounder

Artists of The CompanymATTHEW ADAmCZyK DErrICK AGNOLETTI yOSHIHISA ArAI

GUILLAUmE BASSO mIGUEL ANGEL BLANCO OGULCAN BOrOVA KATHErINE BrUNO FABrICE CALmELS rAUL CASASOLA APrIL DALy ErICA LyNETTE EDWArDS yUmELIA GArCIA

CArA mArIE GAry JOHN mArK GIrAGOSIAN DyLAN GUTIErrEZ ELIZABETH HANSEN JAImE HICKEy rOry HOHENSTEINANASTACIA HOLDEN DArA HOLmES VICTOrIA JAIANI

FABIO LO GIUDICE GrAHAm mAVErICK CAITLIN mEIGHAN JErALDINE mENDOZA KATHErINE mINOr JACQUELINE mOSCICKE

AmBEr NEUmANN ALEXIS POLITO VALErIE rOBIN CHrISTINE rOCAS AArON rOGErS rICArDO SANTOS

LUCAS SEGOVIA ABIGAIL SImON mICHAEL SmITH TEmUr SULUASHVILI JACK THOrPE-BAKEr SHANE UrTON

ALBErTO VELAZQUEZ mAUrO VILLANUEVA mAHALLIA WArD JENNy WINTON JOANNA WOZNIAK KArA ZImmErmAN

SCOTT SPECKmusic Director

NICOLAS BLANCBallet master

GErArD CHArLESBallet master

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GrACA SALESBallet master/Principal Coach

KATHErINE SELIGPrincipal Stage manager

AmANDA HEUErmANNStage manager

JACK mEHLEr Lighting Director

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Son of Chamber Symphony

INTERMISSION

After the Rain

INTERMISSION

Le Sacre Du Printemps (The Rite of Spring)

Patrons are requested to turn off pagers, cellular phones, and signal watches during performances.

The taking of photographs and the use of recording devices are not allowed in this auditorium.

Program and Artists subject to change.

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Son of Chamber SymphonyChoreography by STANTON WELCH

music by JOHN ADAmSCostume Design by TrAVIS HALSEy

Lighting and Scenic Concept by JACK mEHLEr

WOrLD PrEmIErE: August 22, 2012, Jacobs Pillow, Becket, mA

about the choreographerIn July 2003, the acclaimed Australian choreographer Stanton Welch assumed leadership of Houston Ballet, America's fourth largest classical ballet company. mr. Welch is one of the most sought after choreographers of his generation, having created works for such prestigious international companies as Houston Ballet, San Francisco Ballet, American Ballet Theatre, The Australian Ballet, Birmingham royal Ballet, and royal Danish Ballet.

mr. Welch was born in melbourne to marilyn Jones, O.B.E., and Garth Welch, A.m., two of Australia's most gifted dancers of the 1960s and 1970s. In 1986 he began his training at the late age of seventeen, quickly winning a scholarship to San Francisco Ballet School. In 1989, he was engaged as a dancer with The Australian Ballet, where he rose to the rank of leading soloist, performing such principal roles as Des Grieux in Sir Kenneth macmillan's Manon, Lensky in John Cranko's Eugene Onegin, Camille in ronald Hynd's The Merry Widow, and Alan Strang in Equus. He has also worked with internationally acclaimed choreographers such as Ji Kylan, Nacho Duato, and Maurice Bjart.

mr. Welchs choreographic career developed during his time with The Australian Ballet. In 1990, he received his first choreographic commission from the company, marking the beginning of a series of commissioned works over the next fourteen years and developing his diverse choreographic style. For The Australian Ballet he has created The Three of Us (1990); Of Blessed Memory (1991), for which he was voted best new choreographer in 1992 by readers of the British magazine Dance & Dancers; Divergence (1994), which has been performed at The Kennedy Center in Washington, D.C., and City Center in New york; full-length productions of Madame Butterfly (1995) and Cinderella (1997); Red Earth (1996); X (1999); Velocity (2003). He has created a new Sleeping Beauty for the Australian Ballet which premiered in September 2005. Madame Butterfly has become a signature work for mr. Welch internationally, and is in the repertoires of Houston Ballet, National Ballet of Canada, Atlanta Ballet, Singapore Dance Theatre, Boston Ballet, Pittsburgh Ballet Theater, and The royal New Zealand Ballet.

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In 1995, mr. Welch was named resident choreographer of The Australian Ballet. That same year, he was commissioned to create Corroboree for The Australian Ballet to perform at United We Dance, a dance festival in San Francisco celebrating the fiftieth anniversary of the signing of the United Nations Charter and featuring major companies from across the world premiering new works.

mr. Welch has been extremely active internationally, receiving numerous commissions from the worlds leading companies. For Houston Ballet, he has choreographed eight works: Indigo (1999), Bruiser (2000), Tales of Texas (2004), Blindness (2004), Bolero (2004), Nosotros (2005), Brigade (2006), and a spectacular new staging of Swan Lake (2006).

For San Francisco Ballet: Maninyas (1996), Taiko (1999), Tutu (2003), and Falling (2005). For American Ballet Theatre: Clear (2001), two songs from Within You Without You: A Tribute to George Harrison (2002); and a new version of Carmina Burana as part of the evening-length work, HereAfter (2003). For Balletmet: Evolution (2004) and Don Quixote (2003), both full-length works.

For Atlanta Ballet: A Dance in the Garden of Mirth (2000). For royal Danish Ballet: nsket (1998) and Ander (1999). For Birmingham royal Ballet: Powder (1998). For ms. Nina Ananiashvili's moscow Dance Theatre: Green (2000) and OPUS X (2001).

mr. Welch has also staged works for Colorado Ballet; Cincinnati Ballet; Tulsa Ballet; Texas Ballet Theater; The royal Ballet School; Singapore Dance Theatre; The royal New Zealand Ballet; and Fugate/Bahiri Ballet Ny.

After the RainAfter the Rain by CHrISTOPHEr WHEELDON

music by ArVO PrTStaged by JASON FOWLEr

Costumes Designed by HOLLy HyNESLighting design by mArK STANLEy, recreated by JACK mEHLEr

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ballet notesChristopher Wheeldons After the Rain is a ballet of bold movements and heartfelt emotion. In Part I, danced to the first movement of Prts Tabula Rasa, the three couples opening movements find the men lying on the floor with the women standing over them, en pointe, with their left legs thrust in the air. From that powerful image, the couples perform a series of intricate lifts and turns that often mirror one another. They are dressed in steel gray, reflecting the striking backdrop, in which a revolving palette of grays resembles glass covered with raindrops. The colors and mood shift dramatically in Part II, a pas de deux danced to Spiegel im Spiegel. The ballerina is dressed in pink and her partner is bare chested. In a series of unfolding partnering moves, the dancers explore the shifting emotions of their relationship. At times they are close and tender with one another, while at other times they inhabit the same space but are separated and searching for one another. The ballet is short in lengthlasting about 22 minutes but rich in invention and feeling. While many dance companies have performed parts of this work, The Joffrey Ballet is the first company outside of the company for which it was created to be awarded the rights to perform the piece in its entirety.

Repertory notes courtesy of and adapted from New York City Ballet Online Repertory Index.

WOrLD PrEmIErE: January 22, 2005, New york City Ballet, New york State Theater, New york, Ny

JOFFrEy PrEmIErE: October 13, 2010, Auditorium Theatre of roosevelt University, Chicago, IL

MUSIC CREDITS: Arvo Prt Ludus from Tabula Rasa and Spiegel Im Spiegel Used by arrangement with European American Distributors LLC, U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner.

about the choreographerInternationally acclaimed choreographer Christopher Wheeldon is Artistic Director and Co-Founder of morphoses/The Wheeldon Company. A former dancer with The royal Ballet and soloist with New york City Ballet (where he served as resident Choreographer from 2001 to 2008), Wheeldon founded morphoses in 2007 with the goal of introducing a new spirit of innovation to classical ballet by fostering collaboration among choreographers, dancers, visual artists, designers, composers, and others who can bring new life and perspective to ballet.

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Born in yeovil, Somerset, England, Wheeldon began his ballet training at eight years old and began studying at The royal Ballet School at eleven. Wheeldon joined The royal Ballet in 1991 and won the Gold medal at the Prix de Lausanne competition that year. In 1993, Wheeldon was invited to become a member of New york City Ballet, where he was promoted to soloist in 1998. Wheeldon choreographed his first work for NYCB, Slavonic Dances, for the 1997 Diamond Project and, in collaboration with artist Ian Falconer, created Scnes de Ballet for the School of American Ballet's 1999 Workshop Performances and NyCB's 50th anniversary season.

After creating mercurial maneuvers for NyCB's Spring 2000 Diamond Project, Wheeldon retired from dancing to concentrate on choreography. In NyCBs 20002001 season, he served as the companys first Artist in Residence, creating two ballets: Polyphonia, set to piano music by Gyrgy Ligeti, and Variations Srieuses, set to a score by Felix mendelssohn. In July 2001, Wheeldon was named NYCB's first Resident Choreographer. During his appointment, Wheeldon choreographed works that included Morphoses and Carousel (A Dance) (2002); Carnival of the Animals and Liturgy (2003); After the Rain and An American in Paris (2005); Klavier (2006), The Nightingale and the Rose (2007) and Rococo Variations (2008) .

Among the celebrated ballets Wheeldon has created for other companies are: Continuum, for San Francisco Ballet (2002), Tryst DGV (Danse Grande Vitesse) and Electric Counterpoint, for The royal Ballet (2002, 2006 and 2008, respectively), a full-length Swan Lake, for Pennsylvania Ballet (2004), Dance of the Hours, for The metropolitan Opera's production of Ponchielli's La Gioconda (2006), Misericors, for the Bolshoi Ballet (2007), The Wanderers, for the royal Danish Ballet (2008), and The Christening Suite, for the Norwegian National Ballet for the opening of the Oslo Opera House (2008), as well as ballet sequences for the feature film Center Stage (2000) and a stage version of Broadways Sweet Smell of Success (2002).

In his pursuit of innovation for the art form, Wheeldon has collaborated with composers James macmillan, Bright Sheng, and michael Nyman; artists Ian Falconer, James Buckhouse, and Jean marc Puissant; designers Adrianne Lobel and Narciso rodriguez; author and actor John Lithgow; and director Nicholas Hytner.

Wheeldon was the recipient of the Dance Magazine Award and the London Critics' Circle Award for Best New Ballet for Polyphonia in 2005; a performance of the work by NyCB dancers received the Olivier Award. In 2006, DGV (Danse Grande Vitesse) was nominated for an Olivier Award. Additional honors include the martin E. Segal Award from Lincoln Center and the American Choreography Award.

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For morphoses/The Wheeldon Companys inaugural season, Wheeldon choreographed two new works: Fools' Paradise and Prokofiev Pas de Deux. Launched at the Vail International Dance Festival in August 2007, Morphoses performed as Guest resident Company at both Sadler's Wells in London in September, and New york City Center in October. The company will perform at these three venues again this year, as well as the Harris Theater in Chicago. Morphoses won the prestigious South Bank Show Award for its 2007 London season.

LE SACRE DU PRINTEMPS(The Rite of Spring)

Pictures of Pagan Russia in Two ActsChoreography after VASLAV NIJINSKy

reconstructed and staged by mILLICENT HODSONmusic by IGOr STrAVINSKy*

Scenario by IGOr STrAVINSKy and NICHOLAS rOErICHCostumes and dcors after NICHOLAS rOErICH

reconstructed and supervised by KENNETH ArCHErArtistic Supervision of reconstruction by rOBErT JOFFrEyLighting Design by JACK mEHLEr after THOmAS SKELTON

Scenic Supervision and Costumes Executed by rOBErT PErDZIOLA and SALLy ANN PArSONS

ballet notesVaslav Nijinsky, as a member of Diaghilevs Ballets russes, was one of the greatest dancers of the 20th century as well as an innovative choreographer. Le Sacre du Printemps gave him the opportunity to revolutionize dance, stimulated by his close collaborators, Igor Stravinsky the composer and Nicholas roerich the scenarist and designer. All three felt the desire to break free from prevailing classical ballet and evoke the primitive soul of their native russia, return to colorful peasant costumes and the vast stony regions of the Slavic north. Stravinsky captured in his music the first moment of the russian Spring, which, as he said, was like the whole world suddenly cracking. roerich and Stravinsky conceived a pagan rite involving elders of a tribe watching the annual fertility ritual where a young girl dances herself to death. Such a work was realized, a ballet completely apart from the norm of their day. The movements that Najinsky devised were so unfamiliar to the

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classically trained dancers that many of them rebelled against the steps he required, but he stood firm. Stravinskys polyrhythms were monumentally difficult. Diaghilev asked a pupil of Jaques-Dalcroze (founder the music study system, Eurhythmics) to assist Nijinsky with the score for the corps de ballet. Her name was marie rambert who later directed the Ballet rambert in London. Nijinsky created the role of the Chosen One in Le Sacre for his sister, Bronislava, who became pregnant and could not perform. She was replaced by Maria Plitz who danced the role to acclaim. By the final rehearsals, most of the dancers believed in the ballet, though everyone, including Diaghilev, was anxious about the audience reaction to the new work. In fact, at the premiere in Paris in 1913, pandemonium broke out in the theatre with audience members howling, whistling and catcalling in response to the violent fertility rite, drowning out the music and fighting in the aisles. There was chaos at the Thtre des Champs-lyses and the ensuing riot has become legend. Le Sacre du Printemps nevertheless, made a profound impression, considered by many to be the tumultuous birth of modernism in ballet. Stravinskys score of Le Sacre du Printemps is in the repertoire of most of the worlds great orchestras and more than 200 choreographers have since done creations to the score, but only The Joffrey Sacre turned legend back into artifact. It was meticulously researched and reconstructed by millicent Hodson and Kenneth Archer and is recognized internationally as the closest possible version of Nijinskys original. This reconstruction is a testimony to the ardent desire of robert Joffrey and Gerald Arpino to revive rare classics which the company still presents with great care, allowing audiences to experience the defining treasures of ballet.

World Premiere: Diaghilev s Ballets russes, may 29,1913,Theatre des Champs-Elysees, Paris, France.

US & Joffrey Premiere: The Joffrey Ballet, September 30,1987, Dorothy Chandler Pavilion, Los Angeles, CA

This program is dedicated to all members of the Ballets russes who were so instrumental in its success.

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act i adoration oF the earthSpring.

The Earth is covered with flowers. The Earth is covered with grass. A great joy reigns over the Earth.

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

The Sage among all the Ancestors (Elders) participates in the glorification of the Spring.

All are made one (led to unite) with the abundant and rich Earth.

Everyone tramples the Earth with ecstasy.

act ii the sacriFiceAfter the day: after midnight.

On the hills are the consecrated stones.

The (young) maidens carry-out the mystical games and look for the Great Path.

They glorify, they exalt the maiden who is designated to be the chosen one of the god.

They call the Ancestors, venerated witnesses. And the wise Ancestors of men contemplate the (Dance of) Sacrifice.

It is thus they sacrifice to Yarilo,**the magnificent, the flaming.

From the original program, may 29, 1913, Theatre des Champs-Elysees, Paris, France

The 1987 Joffrey Ballet production was made possible, in part, by grants to the company and to millicent Hodson from the National Endowment for the Arts, the L.J.Skaggs and mary C.Skaggs Foundation, and the New york State Council on the Arts and to Kenneth Archer from the Indian Council for Cultural relations. Costumes were made possible, in part, by a gift from The Los Angeles Friends of The Joffrey Ballet. Special Thanks to Philip Dyer, Consultant and Sara C. Woodcock, research Assistant to The Theatre museum, Victoria and Albert museum, for research and material for the costumes for the 1987 production of Le Sacre du Printemps. Also to Parmenia migel Ekstrom, Stravinsky-Diaghilev Foundation, New york; Boris Kochnov; Ballet rambert Archives, London; Dr. and madam Svetslav roerichOlga rumyanseva, roerich Study, Oriental museum, moscow.

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about the choreographerVaslav Nijinsky was born in Kiev, probably in 1889. His parents were artists of the Wielki Theatre in Warsaw and performed throughout Poland and the russian empire. Nijinsky, and later his sister Bronislava, trained the Imperial Ballet School in St. Petersburg. Their ability was recognized quickly and both joined the mariinsky Theatre upon graduation.

Sergei Pavlovich Diaghilev was a prominent member of St. Petersburgs intellectual and cultural life, dedicated to presenting russian creativity to Western Europe. In 1909, he brought a company from the Imperial Theatre to Paris, led by Nijinsky with Anna Pavlova. Their dancing, designs by russian artists, and the new repertoire won enormous accolades and established Diaghilev and Nijinsky, an openly gay couple, as the centers of the Western Europes artistic elite.

Vaslav Nijinsky choreographed four works: Laprs-midi dun Faune (1912), Jeux (1913), Le Sacre du Printemps (1913), Till Eulenspiegel (1916). All were controversial in their time. All retain their ability to shock, both as documented in contemporary graphics and as reconstructed in performance. From photographs, one can see the individual poses and group movements that seemed completely divorced from even Fokines ballet vocabulary. Nijinsky found inspiration in the dancing of Isadora Duncan, the archeological paintings of Nicholas roerich and the art of the avant-garde in russia and France.

He ended his professional ballet career at twenty-nine with a private performance in Switzerland. He was diagnosed with schizophrenia and spent much of his remaining 30 years in treatment, although his diary and extraordinary drawings testify to his enduring genius.

- Biographical information from the New york Public Library.

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ashley c. Wheaterartistic director oF the joFFrey ballet

Born in Scotland and raised in England, mr. Wheater was trained at the royal Ballet School. As a young dancer, he was cast in numerous productions at the royal Opera House, including The Sleeping Beauty, Giselle, Romeo and Juliet, macmillans Anastasia, and rudolf Nureyevs Nutcracker. At the age of 13, he worked with Ashton on the world premiere of Benjamin Brittens Death in Venice, a production in which Wheater performed throughout England and Europe. In addition, he performed Marguerite and Armand with Nureyev and margot Fonteyn at the London Coliseum.

mr. Wheater began his professional career with The royal Ballet and joined London Festival Ballet on the advice of Nureyev, where he danced Romeo & Juliet and The Sleeping Beauty. There he also danced in Swan Lake, Etudes, Sphinx, and many other works. After two years he was promoted to principal dancer. In 1982, he joined The Australian Ballet, and under the direction of marilyn rowe, danced a multitude of roles in both classical and contemporary works. He also guested in Western Australia and Asia with Barry morland, who created several ballets on him.

In 1985 mr. Wheater joined The Joffrey Ballet, where he worked with robert Joffrey, dancing in many American works by choreographers such as William Forsythe, Gerald Arpino, Eugene Loring, mark morris, and Laura Dean, in addition to performing the lead in numerous Ashton and Cranko works. In 1989 he joined San Francisco Ballet, dancing lead roles in all of the companys full-length productions. In addition to performing a vast repertory, mr. Wheater had many works created on him by choreographers such as Helgi Tmasson, James Kudelka, David Bintley, and morris, among others. In 1996, mr. Wheater ended his dancing career after suffering a major neck injury. mr. Wheater continued to perform principal character roles with the San Francisco Ballet, including the creation of Drosselmeyer in Tmassons current production of The Nutcracker, Kitris father in Tmasson/Possokhovs Don Quixote and the father in Balanchines Prodigal Son.

After a long and successful career as a principal dancer, mr. Wheater assumed the role of Ballet master with San Francisco Ballet in 1996 and was named Assistant to the Artistic Director in 2002. mr. Wheater rehearsed and coached numerous ballets of San Francisco Ballets deep repertoire, works by choreographers from Ashton and macmillan to Lubovitch and Wheeldon.

In 2007 mr. Wheater was appointed Artistic Director of The Joffrey Ballet. Since his appointment, hes been teaching, coaching, and shaping the Company

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for their role ahead in being able to dance a wide and varied repertoire incorporating the very best of the 20th century and also being able to break new ground in the future.

The Joffrey Ballet has been hailed as Americas Company of Firsts. The Joffrey Ballets long list of firsts includes being the first dance company to perform at the White House at Jacqueline Kennedys invitation, the first to appear on television, the first American company to visit Russia, the first classical dance company to go multi-media, the first to commission a rock n roll ballet, the first and only dance company to appear on the cover of TIME magazine, and the first company to have had a major motion picture based on it, robert Altmans The Company.

For more than a half-century, The Joffrey Ballets commitment to taking world-class, artistically vibrant work to a broad and varied audience has created a solid foundation that continues to support the companys unprecedented capacity for achieving important firsts. Today, the Joffrey, which has been hugely successful in its former residences in New york and Los Angeles, lives permanently in its brilliant new facility, Joffrey Tower, in the heart of America, Chicago, Illinois. The companys commitment to accessibility is met through the most extensive touring schedule of any dance company in history, an innovative and highly effective education program including the much lauded Joffrey Academy of Dance, Official School of The Joffrey Ballet, and collaborations with myriad other visual and performing arts organizations.

Classically trained to the highest standards, The Joffrey Ballet expresses a unique, inclusive perspective on dance, proudly reflecting the diversity of America with its company and audiences and repertoire which includes major story ballets, reconstructions of masterpieces and contemporary works. Founded by visionary teacher robert Joffrey in 1956, guided by celebrated choreographer Gerald Arpino from 1988 until 2007, The Joffrey Ballet continues to thrive under internationally renowned Artistic Director Ashley C. Wheater and Executive Director Christopher Clinton Conway. The Joffrey Ballet has become one of the most revered and recognizable arts organizations in America and one of the top dance companies in the world.

about the coMpany

Katherine Bruno

Elizabeth Hansen

Derrick Agnoletti

Dylan Gutierrez

Rory Hohenstein

Guillame Basso

John Mark Giragosian

Jaime Hickey

Matthew Adamczyk

Photography by: Tom Nowak

Graham Maverick

April Daly Raul Casasola

Fabrice Calmels

Yumelia GarciaErica Lynette Edwards

Anastacia Holden

Fabio Lo GiudiceVictoria Jaiani

Dara Holmes

Caitlin Meighan

Ogulcan Borova

THE JOFFREY BALLETARTISTS OF THE COMPANY

Cara Marie Gary

Yoshihisa Arai

Miguel Angel Blanco

Amber Neumann

Alexis Polito

Abigail Simon Michael Smith

Valerie Robin Christine Rocas Aaron Rogers

Temur Suluashvili Shane Urton

Jenny Winton

Kara Zimmerman

Jack Thorpe-Baker

Photography by: Tom Nowak

Lucas SegoviaRicardo Santos

Mauro Villanueva Mahallia Ward

Alberto Velazquez

Joanna Wozniak

THE JOFFREY BALLETARTISTS OF THE COMPANY

Jacqueline MoscickeJeraldine Mendoza Katherine Minor

Lied Center

sponsor storyThe Lied Center for Performing Arts presents world-class artists and performances with the help of sponsors like the Burket Graf Endowment.

Burket Graf was a prominent Lincoln citizen for many years. He graduated and taught at the University of Nebraska-Lincoln and returned to Lincoln to open his architecture firm after serving in the Navy during World War II. His architectural work is still admired today.

Graf was an avid arts supporter. He was appreciative of the Lied Centers fine acoustics and facilities. Lincoln has supported the performing arts for a long time, but for years we had to make do with the Coliseum and strain to hear and see such diverse offerings as the Sadler-Wells Ballet, Paul robeson, and the First Drama Quartet. Graf felt the Lied Center filled a huge void in Nebraskas performing arts community. Now, with the Lied Center, we can and do have it all, he stated. The Burket and Sheila Graf Fund has sponsored numerous performances in the Lieds 18 seasons, from the russian National Ballet to Harry Belafonte. When asked why he supported the arts, Graf did not hesitate: How could one imagine a life without music, without dance, without the variety of human expression which art allows? What a dull life that would be!

Burket Graf passed away on may 29, 2007, at age 89 in Lincoln. We invite you to enjoy his generosity through tonights performance of The Joffrey Ballet. The Lied Center for Performing Arts would like to acknowledge Grafs tremendous impact on the arts and culture in our community, which you are about to witness first hand.

THE BURKET GRAFENDOWMENT

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sponsor storyThe Interdisciplinary Arts Symposium (IAS) welcomes you to tonights performance! Founded and directed by Dr. rhonda Garelick, IAS is a theme-based, multi-part program at UNL, funded by a generous grant from the Hixson-Lied Endowment. IAS consists of a performance series, public lectures, a seminar in Hixson-Lied College, community outreach, artist-residencies, master classes, workshops, and a book series published by the University of Nebraska Press.

The mission of the IAS is: To place the performing arts in a broad and meaningful context To provide historical and critical background to enhance enjoyment and

understanding To draw diverse audiences to UNL productions To cultivate a wider audience for the performing arts in Lincoln To bring world-class performance and scholarship to UNL and the

community

IAS devotes Season IV (2013) to The Ancient World Through modern Eyes. modern performing arts have returned consistently to classical antiquity and ancient mythologies to make sense of the contemporary. Join us as we consider how performance renews itself through consideration of its ancestry. many of our events are free or deeply discounted. For tickets or more information about IAS events (they are exciting!), please visit: www.unl.edu/ias.

We are grateful to the Lied Center for its ongoing friendship and collaboration, the Hixson-Lied Endowment, the UNL Chancellors Office, Dean Charles OConnor and Associate Dean Christin mamiya of Hixson-Lied College and the entire Deans Office. Thank you also to the Ross Media Arts Center. Very special thanks go to IAS Associate Director, Amy Ossian, to program assistant, Lisa maurer, and to Petra Walhqvist.

INTERDISCIPLINARY ARTS SYMPOSIUM

The Lied CenTer for Performing ArTs PresenTs:

elvis livesMarch 78, 2013

This presentation is made possible in part with generous support from Lincoln Benefit Life as well as Patron Friend sponsors Christena & Kelley Baker.

LINCOLN BENEFIT LIFEA N A L L S T A T E C O M P A N Y

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Lincoln Benefit Life, an Allstate Company

Lincoln Benefit Life is dedicated to supporting the arts and the Lied Center. They have shown this commitment by their long standing as program sponsors. Their sponsorships ensure the Lied Center can continue its mission to bring the best performing arts in the world to Nebraska.

Entering its 75th year, Lincoln Benefit Life offers competitively priced life insurance, annuities and financial security to families across the nation. And theyve earned a reputation for exceptional personal service from their 800+ employees.

The company commitment to the arts has been acknowledged with a mayors Support of the Arts Award.

Teresa Ingram, corporate communications manager for Lincoln Benefit Life Company, said, All forms of art have a substantial influence on an individual. Lincoln Benefit Life is committed to sponsoring arts programs in our community to help individuals experience the power of the arts.

The Lied Center is a premier arts venue that provides a wide variety of performance opportunities and memorable audience experiences comparable to those more commonly available in larger cities.

Established in 1938, Lincoln Benefit Life grew substantially after becoming an Allstate Company in 1984. Its products are sold through distribution partners across the nation. With more than $370 billion of life insurance in force and more than one million policies in service, the company has achieved industry success from its ability to build strong and loyal relationships with its distribution partners.

The Lied Center thanks Lincoln Benefit Life for their ongoing commitment to the arts.

sponsor story

LINCOLN BENEFIT LIFEA N A L L S T A T E C O M P A N Y

LIKE us to hear about special promotions, new shows, and Trivia Tuesday, our weekly prize giveaway.

MarchDan. . . . . . . . . . . . . . . . . . . . . . march 9Angels Theatre Company: What the

Wind Taught Me . . . . . . . march 1523John Tartaglias ImaginOcean . .. march 15Susan Werner . . . . . . . . . . . . . . march 22Green Days

AmErICAN IDIOT . . . . march 2930 MayThe russian National Ballet Theatre:

Sleeping Beauty . . . . . . . . . . . . . .may 2aprilHitlers Daughter . . . . . . . . . . . . . April 2The Hutchins Consort. . . . . . . . . April 4

LIEDCENTEr.OrG 402.472.4747800.432.3231

301 N. 12TH ST. LINCOLN, NE

get your ticKets today!

THIS SEASON AT THE LIED!

captivating perForMances

C.S. Lewis: The Screwtape Letters . April 6mOmIX: Botanica . . . . . . . . . . . . April 10The Spencers

Theatre of Illusion . . . . . . . . . April 19Whose Live Anyway? . . . . . . . . . April 20

nobel Peace Prize Winner

Shirin EbadiFEb. 26, 2013 | 7:00 pmEnthompSon.unl.Edu

True Islam: Human Rights, Faith, and Women | Lewis E. Harris Lecture on Public Policy