San Francisco Ballet Meet the Artist Interviews

Frances Chung, named a principal dancer in 2009, discusses the challenges and pleasures of performing the role of Kitri in the full-length Don Quixote for the first time this season. She reminisces about her arrival at SFB as a very young dancer, after winning prizes in the Prix de Lausanne and the Adeline Genée Awards. She speaks about how each role in many different styles as enabled her to grow as an artist.

Patti describes the process of creating the new costumes for Helgi Tomasson and Yuri Possokhov’s Don Quixote and explains the role of SF Ballet’s wardrobe department in preparing the costumes for performances. She also describes her preparations for the Company’s upcoming tours and the next repertory season, as well as the off-season maintenance required to keep costumes in top form.

Luke Willis discusses his unique start in ballet, and muses on his life and career in dance. He considers the pitfalls and the perks of being a professional dancer. The topics range from his take on the critical importance of social media in the arts today, to his thoughts about the varied roles that make dancing so satisfying. Finally, as a key birth date approaches for him, Luke reveals his post dance-career plans - which are quite surprising!

Jane describes her role as stage manager for SFB's performances in the Opera House, as well as when the company goes on tour. She provides insight into the creative aspects of the work, talks about calling cues for the most complicated ballets, and recognizes the skill and talent of the other professionals working backstage with her during a performance.

Professor Genné discusses the life of choreographer George Balanchine and his importance to the development of American Ballet. She describes his influences and inspirations as well as themes that emerge in his works before discussing in turn each of the ballets on the afternoon’s program: Divertimento No. 15, Scotch Symphony, and The Four Temperaments.

Pascal Molat discusses his diverse and challenging roles - ranging from the comedic role of Sancho Panza in Don Quixote to the sullen and pensive Poet in The Little Mermaid. Molat also talks about the importance of mentoring young dancers as he considers a post-dancing career as a Ballet Master or coach.

The interview begins with a look at Program 7, an all-Balanchine evening. Soloist Garen Scribner discusses his roles in The Four Temperaments and his work on Scotch Symphony as a student at North Carolina School of the Arts, where he trained with former New York City Ballet principal dancer Melissa Hayden. Garen also talks about his work with Get in Front, a cancer-prevention initiative, and the benefit performance coming up on June 6 at the Herbst Theater, as well as dancing in a L’Oreal commercial with Jennifer Lopez. The Q&A discussion touches on dance notation, Balanchine’s style and legacy, and more.

Daniel Deivison-Oliveira

In her seven years with the Company before she became a soloist, Courtney Elizabeth danced many soloist and principal roles. She discusses her transition from a San Francisco Ballet School student watching performances in standing room, to a corps de ballet dancer who danced in every performance in 2010, to her promotion to soloist in 2011. In discussing the 2012 Repertory Season, she relates her experiences in working on Onegin, Trio, Symphonic Dances, Glass Pieces, and Raymonda. Also touched on are her bachelor’s degree from St. Mary’s LEAP program; what it’s like to work with her husband, fellow dancer Matthew Stewart; and her volunteer efforts for Children of Uganda.

Ballet Master Ricardo Bustamante describes his role in working with a choreographer or stager in teaching a ballet to the Company and rehearsing it later on his own. He talks specifically about his work with Ashley Page in creating the Program 6 world premiere, Guide to Strange Places, focusing on the challenges of learning unconventional movement and working with a complex, difficult musical score. Later in the interview he outlines his responsibilities as assistant to Artistic Director Helgi Tomasson, discusses his history as director of two companies in South America, and talks about his favorite role as a character dancer.

Ashley Page talks about the world premiere of his newly commissioned work, Guide to Strange Places. Page reveals his motivation and inspiration for this ballet, and distills his unique approach to the creative process. He discusses the intricate process of selecting dancers and choosing the right music for new works.

Fight Director Martino (Marty) Pistone describes the creation of the sword fights and other stage combat in Helgi Tomasson’s Romeo and Juliet. He discusses the styles of fencing and the weapons used, as well as the process of teaching dancers the fight choreography. He also discusses working with the dancers for the crowd scenes during the fights, and his performing role as the Prince of Verona.

Principal Dancer Damian Smith discusses dancing Tybalt in Romeo & Juliet, including his approach to the character, learning to sword fight, and the nuances of working with various Romeos over the years. He talks at length about the 2010 tour to Australia he produced and directed, performing with a select handful of SF Ballet principal dancers. And he looks back on his 16 years with SF Ballet and what he’s learned about himself, why he dances, partnering, and making each performance fresh.

Principal dancers Sarah Van Patten and Pierre Francois Villanoba described their growth in the title roles of Romeo & Juliet. They referenced their experiences of the ballet prior to performing Artistic Director Helgi Tomasson's version. Pierre Francois described the challenges of learning, rehearsing, and performing the spectacular sword fights.

Dance Educator Mary Wood interviews Principal Dancers Maria Kochetkova and Vitor Luiz