San Francisco Ballet Meet the Artist Interviews

Mr. Mc Neal and Mungamba discuss Francisco’s auspicious beginnings in his native Spain, and his transition to the San Francisco Ballet School. Mungamba further discusses his ascent from the school to the Company, a journey that includes his successful competition in the Prix de Lausanne (2010 Silver Medal Winner), and much more.

Principal Dancer Vito Mazzeo danced in five of six ballets in Programs 2 and 3, and in this interview he goes into detail about rehearsing and performing Yuri Possokhov’s Francesa da Rimini, Helgi Tomasson’s Trio, and Mark Morris’ Beaux. After explaining how seeing Sir Kenneth MacMillan’s Winter Dreams as a young boy inspired him to dance, he describes his training at Milan’s La Scala Ballet School and his transition to San Francisco Ballet after dancing in Britain and Italy. Drawn to the Company because of its excellence and varied repertory, he talks about what it means to him as an artist to experience such range and opportunities for growth.

Ruben talks about why he likes his job, what it feels like to dance in contemporary works like Christopher Wheeldon's Number Nine and Morris' Beaux, and how he likes to spend his time when he's not dancing. He also describes how he sees the character of Eugene Onegin and why it is his "dream role."

Dana describes her ballet training at three very different schools prior to her arrival at SF Ballet in 2000. She discusses her role in Helgi Tomasson’s Trio and describes what it is like to work with Helgi in the studio. She also talks about the challenges of learning new ballets and balancing her on-stage career with her role as a mother.

Dance Educator Mary Wood interviews Principal Dancer Tiit Helimets

Charles Chip Mc Neal, SF Ballet Director of Education interviews Principal Dancers, Sarah Van Patten and Pierre-François Vilanoba. Mc Neal and his guests discuss the new SF Ballet production of John Cranko’s ballet, Onegin. Van Patten and Vilanoba offer insight into their preparation for the lead roles of Tatiana and Onegin. Each considers the challenges and the joys of portraying these dramatic, iconic characters. They also discuss how the steps themselves are imbued with so much emotional depth, the expressive disposition of the characterizations are readily apparent – “The steps are the emotions.”

Cheryl A. Ossola, SF Ballet writer and Dance Studio Life magazine editor in chief, interviews Ballet Master Katita Waldo and Principal Dancer Pascal Molat. After Cheryl offers a brief overview of Onegin’s history, Katita and Pascal discuss what makes Onegin so compelling, the process of bringing it to the stage, the uniquely challenging partnering in the pas de deux, and the experience of working with Stuttgart Ballet’s artistic director, Reid Anderson, and Cranko ballet stager Jane Bourne, who uses a notation system. Also, Katita shares her experiences in rehearsing Principal Dancers Vanessa Zahorian and Davit Karapetyan (each ballet master was assigned to one cast), and Pascal talks about developing the role of Gremin and how being a parent has affected his approach to his work.

Planned Giving Manager Allison Groves interviews General Manager Debra Bernard. Allison and Debra discuss the logistics of presenting Neumeier’s The Little Mermaid at SF Ballet and the recent filming that will bring the production to television and DVD. Debra also describes the artistic process of programming the recently announced 2012 Repertory Season, including the commission of several new works.

Education Director Charles Mc Neal interviews Music Director and Principal Conductor Martin West. Mc Neal and West discuss the provocative and evocative music of Lera Auerbach who was commissioned for The Little Mermaid. West then talks about the particulars of the orchestra composition as it pertains to this ballet. He goes to share his thoughts and insights about making audio recordings of certain works, and how that may or may not contribute to a conductor’s legacy.

Founder of St. Mary's College of California LEAP Program Claire Sheridan interviews Principal Dancer Tiit Helimets

Madison discusses her excellent training at Central Pennsylvania Youth Ballet and her move to San Francisco Ballet School to complete her training. She also divulges the fascinating story of her apprenticeship with Hamburg Ballet, and later, her transition to the San Francisco Ballet Company.

Jacques d’Amboise discusses his career as a principal dancer with the New York City Ballet working with George Balanchine, and his connections to San Francisco Ballet and former artistic directors Willam and Lew Christensen as well as current artistic director and principal choreographer Helgi Tomasson. He describes Balanchine’s Apollo, which he coached at San Francisco Ballet, and tells how he was scouted for the film Seven Brides for Seven Brothers while performing at the War Memorial Opera House. He talks about why he founded the National Dance Institute and the importance of arts education.

Ms. Hynes offers a lively account of her rise to prominence as Director of Costumes for New York City Ballet and a leading authority in the reproduction of important ballet works. She describes her commission to design costumes for Wheeldon, elaborating on the process from inception to premiere performance. During a spirited Q&A with the audience, she shares anecdotes from her rich experience.

Planned Giving Manager Allison Groves interviews Costume Supervisor Patti Fitzpatrick. Allison and Patti discuss the creation of ballet costumes, focusing on the new production of Alexandra Danilova and George Balanchine’s Coppélia. Patti explains the construction of tutus, how one costume can be made to fit many dancers, and the maintenance required to keep costumes in top condition.

San Francisco Ballet’s 2011 Visiting Scholar Doug Fullington. Doug Fullington, dance scholar and historian gives a detailed history of Coppélia tracing the ballet’s lineage from its origins in France, on into Russia and, finally, over to America, culminating in George Balanchine’s brilliant 1974 production for New York City Ballet. Doug also talks about his role at Pacific Northwest Ballet and how his knowledge of Stepanov notation is informing a new production of the ballet Giselle.