Message from the Artistic Director
Christopher Anderson| Artistic Director, Alberta Ballet
Few ballets evoke an emotional response like Giselle, the most famous work of the Romantic era. Premiering in 1841, the original concept came from Théophile Gautier, with help from Jules-Henri Vernoy de Saint-Georges.
The emotional response to Giselle remains through countless transformations to the story, the characters, the location, and the choreography.
Our approach to Giselle is inspired by some of the great performances from the early to mid-1900s. These years saw some of the most profound ballerinas dance Giselle, and the essence of those performances are where I feel the heart of this story lives.
Our Giselles, Albrechts, Hilarions, and Myrthas are all crafting their own relationships and associations with each other, creating unique characterizations and performances that are authentic to them.
As this world opens to the dancers, who become the characters in the story, the ballet takes on a life of its own.
Experiencing a new ballet come together remains a marvel - and I am ever grateful for all the artists who make such an accomplishment possible.
Thank you for being here, and thank you for supporting Alberta Ballet!
Act 1
The mood is celebratory in the village with the harvest underway and Giselle is in high spirits. She has met a new arrival in the village, Albrecht, and is delighted to find he is just as enchanted with her as she is with him. Hilarion, a local gamekeeper who seeks Giselle's hand for himself, is frustrated by their relationship and is suspicious of Albrecht.
Giselle is bright and graceful with a love for dance but has a weak heart. Her mother, Berthe, is fearful that Giselle’s love for dance will be her undoing. Any shock to her heart – be it dancing or heartbreak - could prove Giselle’s demise.
When a hunting party arrives at the village, with the charming and elegant Princess Bathilde among its members, Hilarion unravels Albrecht’s secret: Albrecht is really a duke who is betrothed to Princess Bathilde.
Hilarion reveals this knowledge, and the truth shocks Giselle to her core. As she struggles to absorb the stark reality of the deception, her heart gives way, and she dies.
Act 2
Giselle has been laid to rest in the forest, which is where we find the Wilis. Known and feared in the villages throughout the region, the Wilis are spirits of young women who have died of heartbreak. They are led by their queen, Myrtha, and this ghostly sisterhood forces wayfarers travelling through the forest to dance to their deaths.
The Wilis have gathered at Giselle’s grave to initiate her into the group, and when Hilarion arrives, he is ensnared by these spirits and meets his demise. Albrecht faces a similar fate when he visits the grave, but Giselle intercedes. She dances with Albrecht through the night, devising to hold strong until dawn, when the power of the Wilis will wane.
The end has been one of the most changed elements over the years. In the early morning light, Albrecht is either left alone with memories of his lost Giselle or, following the original telling, is rescued by Princess Bathilde. Which ending will Alberta Ballet reveal on the Jubilee stage?
MUSIC CREDITS:
Composed By: Adolphe Adam
Performed By: Slovak Radio Symphony Orchestra, Morgrelia, Andrew
Courtesy of Naxos of America, Inc.
PRODUCTION CREDITS:
Scenery and Costumes Courtesy of PITTSBURGH BALLET THEATRE
Giselle Libretto
Giselle Artistic Team
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Christopher Anderson began his tenure as Alberta Ballet’s Artistic Director in July 2022.
Before joining Alberta Ballet in 2015, Anderson enjoyed a 16-year career in professional dance. A graduate of Purchase College’s SUNY Conservatory of Dance, he launched his career at Boston Ballet, and two years later was invited to join Salt Lake City’s Ballet West. During his career, he danced leading roles both nationally and internationally and further had several roles created for him by some of today’s most exciting choreographers.
In 2015, Alberta Ballet offered Anderson a contract as Ballet Master. Anderson was motivated to accept, given the strong talent he saw in the company’s dancers. He retired from professional dance and joined Alberta Ballet’s leadership team. At the end of his first season, he took on an expanded role of Associate Artistic Director.
Seeing that the company had a strong foundation of contemporary and theatrical works in its repertoire, Anderson chose to set classics for his first full-length works for Alberta Ballet. He premiered Cinderella in 2017 and The Sleeping Beauty in 2018 and Swan Lake in 2021. In 2019, he also premiered a contemporary one-act Sixth Breath (2019).
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Christiana is in her sixth season working as part of Alberta Ballet’s artistic team. Previous to her position as Rehearsal Director at Alberta Ballet, she was a Principal dancer with Ballet West for 16 years. While dancing with Ballet West, Bennett was given the opportunity to dance throughout the United States, Europe and Asia where she was met with international acclaim. Some of her favourite ballets to perform were Swan Lake, Balanchine’s Diamonds and Serenade, Ben Stevenson’s Cinderella, Nicolo Fonte’s Bolero, Jiri Kylian’s Sinfonietta, William Forsythe’s In the Middle, Somewhat Elevated and Aszure Barton’s Happy Little Things. Christiana also had many roles created for her by choreographers such as Matthew Neenan, Nicolo Fonte, Helen Pickett, Val Caniparoli, Christopher Anderson, Garrett Smith and Charlotte Boye-Christensen.
As a native of Massachusetts, most of her training was along the Eastern seaboard at prestigious schools. However, she attributes her career to the training received at Pacific Northwest Ballet School under the tutelage of Francis Russell.
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After her fourteen-year career as a dancer with Alberta Ballet, Reilley transitioned into the role of Artistic Coordinator and has now been promoted to Rehearsal Director. She is excited to help behind the scenes and share the knowledge that she has gained while working with our organization.
Originally born in Eatonville, WA, USA, Reilley trained at both Pacific Northwest Ballet in Seattle and at Canada’s National Ballet School in Toronto. She joined Alberta Ballet as a dancer in 2008, and has since made Canada her home, becoming a dual citizen in 2019. Some of her most memorable roles with Alberta Ballet have been as Madame de Tourvel in Jean Grand-Maître’s Dangerous Liaisons, and Queen Anne in David Nixon’s Three Musketeers.
YEE-HANG YAM
Artistic Operations Manager
KEN JAMES STEWART
Stage Manager
BETH AIRTON
Apprentice Stage Manager
ANDREA GINTER
Alberta Ballet Lead Physiotherapist -
Momentum Health
COMPANY TEACHERS
Shino Mori
Aram Manukyan
Alexandra Gibson
Jennifer Gibson
Yoshiya Sakurai
COMPANY PIANISTS
Juanita Faas
Marina Fedorov
Michael Levin
Mary Martell
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His critically acclaimed lighting and scenery has been seen in venues all over the U.S., Europe and Asia, ranging from opera houses to amphitheaters to circus tents to hay barns. The three-time New York Dance and Performance Award winner has designed lighting and scenery for Oregon Ballet Theatre; Pacific Northwest Ballet; San Francisco Ballet, Whim W’Him of Seattle, Queensland Ballet, AU; National Ballet of Finland; Stuttgart Ballet; Grand Rapids Ballet; Ballet West; Ballet Nacional de Cuba; Ballet Hispanico; Trey McIntyre Project; The Washington Ballet; Royal Winnipeg Ballet; Houston Ballet; Rachel Tess Dance at the Wanås Foundation in Sweden, Baryshnikov Arts Center, NYC and LMCC’s River to River Festival; 3rd Rail Theater; Bebe Miller Company and the Liz Lerman Dance Exchange. For the National Young Arts Foundation Michael has designed scenery and lighting for their Miami Galas since 2015. For the 2015 through 2020 Presidential Scholars | Young Arts Awards at the Kennedy Center Concert Hall he has designed lighting, scenic and video content. Since 2011 Michael Mazzola has collaborated on a wide variety of works across America with Annabelle Lopez Ochoa. Ms Lopez Ochoa has brought Michael to Havana twice for world premieres. Recently Mr Mazzola designed the world premiere of Vespers for the Royal Winnipeg Ballet by James Kudelka,
Michael has been the resident Lighting Designer at Oregon Ballet Theatre since 1994 and Resident Lighting Designer with Whim W’Him Seattle since it’s inception in 2011. He has as well served as Senior Scenic Designer on Comedy Central Celebrity Roasts and 2015 Lincoln Awards at the Kennedy Center Concert Hall for Uplight, Inc., based in NYC.
His performance photography has been published in Liz Lerman’s book “Hiking the Horizontal”, as well on the websites and marketing materials for Bebe Miller Company; The Pew Center for The Arts & Heritage Online Text and Image Glossary; and Rachel Tess Dance. Upcoming projects include re-lighting “Passion” by James Kudelka for the National Ballet of Canada, a world premiere for Miami City Ballet, and a number of projects across the Western Range.
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Adolphe Adam (July 24, 1803 – May 3, 1856) was a French composer and music critic. A prolific composer of operas and ballets, he is best known today for his ballets Giselle (1844) and Le Corsaire (1856, his last work), his opera Les Toréadors (AKA Le toréador ou L'accord parfait) (1849), and his Christmas carol O Holy Night (1847). Read more here.
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Peter Farmer (1941–2017) was a leading figure in British theatre design. His many designs for The Royal Ballet included Giselle (1971), Winter Dreams (1991) and The Sleeping Beauty (1973). Farmer designed for most of the major ballet companies in the world, including the Royal Ballet, London Festival Ballet, London Contemporary Dance Theatre and the Dutch National Ballet, among others. Born in Luton, England, Farmer designed for theatre and ballet from the 1960s including designs for The Sleeping Beauty (Munich Opera House), The Three Musketeers (Australian Ballet), Swan Lake (Royal Winnipeg Ballet and Hong Kong Ballet), and Cinderella for the Cincinnati Ballet. His work is well known around the world, having designed for more than 20 different Ballet and theatre companies over his career. Farmer’s most recent work is on display for the English National Ballet at Royal Albert Hall, London in which Farmer created a brand new Nutcracker in 2011. Farmer had collaborated on numerous occasions with Robert Cohan and Robert North for London Contemporary Dance Theatre. Some of their work includes Cohan’s Stages, No-Man’s Land and Metamorphoses and Crescendo. His work alongside North include Meeting and Parting, David and Goliath and Troy Game.Farmer was a painter and designer, with a keen understanding of how to balance grand stage designs for the entire audience. Farmer created intimate scenes and costumes for the leads which allowed dancers great freedom of movement, and elegantly showed off the choreography.
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Technical Advisor - Andrew G Smith
Technical Director - Kenzie Bowes
Lead Stage Carpenter - Jason McLellan
Lead Fly Carpenter - Kevin Green
Lead Props - Ximena Pinilla
Lead Lighting - Summer Anderson
Second Lighting - Georgia JefferyWardrobe Manager - Audrey Lee
Lead Wardrobe - Juli Elkiw
Second Wardrobe - Michelle Warren
Cutter/ Stitcher - Anne Nguyen
Alberta Ballet Dancers
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Kira Anderson
Corps de Ballet
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Aaron Anker
Soloist
Casting
Subject to Change
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Giselle | Mariko Kondo
Albrecht | Caleb Durbin
Myrtha | Alexandra Hughes
Hilarion | Zacharie Dun
Peasant Pas | Luna Sasaki, Yoshiya Sakurai
Berthe | Melissa Eguchi
Bathilde | Jennifer Gibson
Bernard | Yaroslav Khudych
Wilfred | Kurtis GrimaldiACT 1
Villagers/Friends | Allison Perhach, Seira Iwamoto, Sayuri Nakanii, Shiori Otsu, Mya Kresnyak, Michael Scott-Kahans, Eli Barnes, Scotto Hamed-Ramos
Hunting Party | Alyssa Churchill, Kale Lazarick
ACT 2
Zulma | Alexandra Gibson
Moyna | Allison Perhach
Wilis | Seira Iwamoto, Mya Kresnyak, Chizuru Kikuchi*, Shiori Otsu, Brittany Broussard, Kira Anderson, Alyssa Churchill, Sayuri Nakanii*Alberta Ballet School Student
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Giselle | Heather Dornian
Albrecht | Aaron Anker
Myrtha | Jennifer Gibson
Hilarion | Scotto Hamed-Ramos
Peasant Pas | Sayuri Nakanii, Alan Ma
Berthe | Alexandra Gibson
Bathilde | Luna Sasaki
Bernard | Yaroslav Khudych
Wilfred | Eli BarnesACT 1
Villagers/Friends | Allison Perhach, Brittany Broussard, Hotaru Maruyama*, Kira Anderson, Melissa Eguchi, Kurtis Grimaldi, Zacharie Dun, Zachary Boresow
Hunting Party | Alyssa Churchill, Kale Lazarick
ACT 2
Zulma | Alexandra Hughes
Moyna | Seira Iwamoto
Wilis | Allison Perhach, Mya Kresnyak, Shiori Otsu, Alyssa Churchill, Melissa Eguchi, Brittany Broussard, Kira Anderson, Hotaru Maruyama**Alberta Ballet School Student
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Giselle | Luna Sasaki
Albrecht | Alan Ma
Myrtha | Mariko Kondo
Hilarion | Eli Barnes
Peasant Pas | Alexandra Gibson, Zacharie Dun
Berthe | Alexandra Hughes
Bathilde | Reilley McKinlay
Bernard | Yaroslav Khudych
Wilfred | Yoshiya SakuraiACT 1
Villagers/Friends | Alyssa Churchill, Seira Iwamoto, Hotaru Maruyama*, Shiori Otsu, Melissa Eguchi, Kurtis Grimaldi, Caleb Durbin, Scotto Hamed-Ramos
Hunting Party | Mya Kresnyak, Michael Scott-Kahans
ACT 2
Zulma | Sayuri Nakanii
Moyna | Mya Kresnyak
Wilis | Seira Iwamoto, Allison Perhach, Shiori Otsu, Alyssa Churchill, Melissa Eguchi, Brittany Broussard, Kira Anderson, Hotaru Maruyama**Alberta Ballet School Student
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Giselle | Heather Dornian
Albrecht | Aaron Anker
Myrtha | Jennifer Gibson
Hilarion | Scotto Hamed-Ramos
Peasant Pas | Alexandra Hughes, Caleb Durbin
Berthe | Alexandra Gibson
Bathilde | Mariko Kondo
Bernard | Yaroslav Khudych
Wilfred | Eli BarnesACT 1
Villagers/Friends | Allison Perhach, Brittany Broussard, Sayuri Nakanii, Kira Anderson, Mya Kresnyak, Kurtis Grimaldi, Zacharie Dun, Zachary Boresow
Hunting Party | Alyssa Churchill, Kale LazarickACT 2
Zulma | Alexandra Hughes
Moyna | Seira Iwamoto
Wilis | Allison Perhach, Mya Kresnyak, Shiori Otsu, Alyssa Churchill, Melissa Eguchi, Brittany Broussard, Kira Anderson, Sayuri Nakanii
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Donations are at the very heart of our funding. As a registered charity, Alberta Ballet relies on donations to bridge the shortfall to perform in the Jubilee, create new works and attract the best talent. As stewards of a rarified art form, we face a delicate balance, and ticket prices only get us part of the way there. Donations make it possible for us to deliver the art you love.
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To make a donation to the Forever Moved campaign or to learn more about the Endowment Fund, please visit our website.
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ALBERTA BALLET DONORS 2022/23
Thank you to our donors!
Over these many uncertain months, we’ve been grateful to our donor community for all the ways they’ve supported our mission to share dance and ballet.
As we return to the Jubilee with a full season, we’re looking forward to reconnecting this community to the art form they find so deeply inspirational.
If you are a passionate Alberta Ballet patron, consider joining our donor community.
To find out more, visit our website or email us at donate@albertaballet.com.
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A whole community works behind-the-scenes,
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2022/23 GOVERNMENT FUNDERS
AND COMMUNITY PARTNERS
BOARD OF DIRECTORS
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CHAIR
Daryl S. Fridhandler, Burnet, Duckworth & Palmer LLP (Calgary)VICE CHAIR
Jana Neal, SFG Investments (Calgary & Southern Alberta) & Heather Klimchuk, Advocacy, Connections & Communications Consulting (Edmonton & Northern Alberta)CORPORATE SECRETARY
Frank Molnar, Field Law (Calgary)TREASURER
Jana Neal, SFG Investments (Calgary) -
Denise Clarke, One Yellow Rabbit (Calgary)
Lawrence Gervais, Owner/ Consultant, Babiche Consulting (Calgary)
Wendy Gnenz, Meyers Norris Penny (Edmonton)
Alyssa Kim, Bennett Jones (Edmonton)
Agnieszka (Aggie) Mikulski, TIPP Consulting (Edmonton)
Sarah Palmer, Yellowstone to Yukon Conservation Initiative (Calgary)
Noel Papadopoulos, Papas Group (Edmonton)
Heather Rae, HRJ Consulting (Calgary)
Ellie Siebens, EPL Consulting Ltd. (Calgary)
Eric Toker, Modern Flowers (Calgary)
Bob Willows, Willows Construction (2001) Ltd. (Winfield)
Noel Xavier, Edmonton Community Foundation (Edmonton)
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CHAIR/PRESIDENT
Alfred SorensenSECRETARY/TREASURER
Peter A. JohnsonDIRECTOR
Chandra HenryDIRECTOR
Daryl FridhandlerDIRECTOR
Jana Neal
Feature Image by Eluvier Acosta, featuring Mariko Kondo and Yoshiya Sakurai