San Francisco Opera Ballet

              1939

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SAN FRANCISCO OPERA BALLET


A scene from one of the brilliant presentations of the San Francisco Opera Ballet.  Choreographer and director is Willam Christensen, the young Danish-American artist.  Premiere ballerina is lovely Janet Reed.  (Shown below).


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To Mr. Capezio in appreciation of your marvelons Toe Shoes Sincerely william Christensen Ballet Master San Francisco Opera ballet

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To Mr. Capezio your shoes are a real pleasure to work in Janef Reed 14/4/39 San Francisco Opera Ballet.


Capezio Toe and Ballet Shoes


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>Duro-Toe



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Permastitch



Toe Shoe
5.35




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Brilliant Danceis at The San Francisca Ballet
WEAR
CAPEZIO SLIPPERS
The magnificent dancers of the San Francisco Opera Ballet have brought new fame and glory to the American Ballet, with their exquisite grace and beauty of movement, their inspired interpretations.  These artists, like so many other celebrities, and teachers of the dance, choose Capezio Slippers as the basis for their flawless technique.  Capezio shoes are hand-crafted on scientific principles of design, for perfect balance—first in dance footwear for more than half-a-century.



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SAN FRANCISCO OPERA BALLET IS MAINTAINED BY THE SAN FRANCISCO OPERA ASSOCIATION
GAETANO MEROLA, General Director

ROBERT WATT MILLER President
ARTHUR M. BROWN, JR. Vice-President
EDWARD F. MOFFATT Secretary-Treasurer
NION R. TUCKER Chairman, Ballet


GAETANO MEROLA


Board of Directors


CHARLES R. BLYTH
ARTHUR M. BROWN, JR.
GEORGE T. CAMERON
MORTIMER FLEISHHACKER
TIMOTHY HEALY
ROBERT W. MILLER
JOHN FRANCIS NEYLAN
RICHARD M. TOBIN
NION R. TUCKER

THE SAN FRANCISCO OPERA ASSOCIATION, which maintains the San Francisco Opera Company and the San Francisco Opera Ballet, was organized in its present form in 1923 by a group of public spirited San Franciscans motivated by the desire to carry on the rich operatic tradition which had been established in San Francisco during the middle of the nineteenth century.

The aim of the Association was to create an opera company which would rank with the world's greatest, and for this purpose the industrial, professional and artistic leaders of San Francisco were called upon to form a supporting, sponsoring membership.  The financial support accorded the Association by this membership is based altogether upon altruism and artistic accomplishment, as the San Francisco Opera Association is a non-profit corporation.

The Ballet is sent on tour following the close of the opera season for the primary purpose of keeping the dance group intact, as a unit, throughout the year.  A ballet is essential to the production of opera, and a ballet of first rank must be available to meet the standards established by the San Francisco Opera Company.

As further incentive in the establishment of this innovation (giving major importance to the Ballet) the San Francisco Opera Association also recognizes the rapidly growing national interest in ballet.  And with a fine measure of anticipation looks forward to the progressive development of its own dance organization.

San Francisco 1939

Robert Watt Miller President, SAN FRANCISCO OPERA ASSOCIATION





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WAR MEMORIAL OPERA HOUSE SAN FRANCISCO HOME OF THE
SAN FRANCISCO OPERA BALLET
WILLAM CHRISTENSEN, Artistic Director

Concert Direction: FRANKLYN SMITH


Conductors: WILLEM VAN DEN BURG FRITZ BERENS
Pianist: LEA VERGANO
Personnel Manager: DEANE CROCKETT
Technical Director: ARMANDO AGNINI
Scenic Designer: CHARLOTTE RIDER
Costume Director: HELEN GREEN

Tour Management:
HORNER-MOYER, INC.
New York   3005 Harrison, Kansas City, Mo.   Washington




OPERA HOUSE
THE WAR MEMORIAL OPERA HOUSE of San Francisco is one of a group of buildings in the Civic Center completed in 1932 as a memorial to those who participated in the Great War.  The buildings are under the Charter of the City and County of San Francisco, operated by a Board of Trustees, appointed by the Mayor.

The design of the Opera House, and the mechanical equipment of its huge stage, owe much to the other great opera houses of the world as the best features of these were incorporated.

The stage is 83 feet wide, 131 feet deep and 140 feet from stage level to roof.  Nineteen star dressing rooms are on various levels accessible by elevators on each side of stage.  Below the stage are rooms for orchestra, emergency hospital quarters, libraries, costume rooms and numerous large dressing rooms.  Scenery and properties are lifted and lowered by power which is controlled by push buttons on the stage.


GRAND FOYER, OPERA HOUSE




SECTION OF BOXES, OPERA HOUSE


The seating capacity of the Opera House is just over 3200; while this seating capacity is inadequate during the opera season, as there are thousands of disappointed opera lovers each year who are unable to secure reservations, it serves quite well during the balance of the year when the Opera House is used for general concerts and attractions.

The orchestra pit accommodates one hundred musicians.  The floor of the pit can be mechanically raised to stage level, and is so arranged that one section or all can be moved simultaneously.

A wide, impressive foyer opens from the main lobby with carpeted stairs at each end leading to the Box Tier and other spacious promenades.  Elevators move from Foyer to Boxes, the Dress Circle and the Balcony.

Beneath the Foyer is a spacious lounge room, cafe and bar where patrons gather during the intermissions.  Another bar is a feature of the Promenade on the Box Tier, during the opera season.



Section of the Opera House Auditoium






WILLEM VAN DEN BURG Conductor



ARMANDO AGNINI Technical Director



FRANKLYN SMITH Concert Director



FRITZ BERENS Conductor




BALLETS
REPERTOIRE, SEASON 1939–1940
All choreography by Willam Christensen


CHOPINADE

Classic Ballet in 1 Scene



Music by Frederic Chopin



AMERICAN INTERLUDE

Contemporary Ballet in 3 Acts



Music by Godfrey Turner



ROMEO AND JULIET

Dramatic Ballet in 3 Scenes



Music by Peter Iljitch Tschaikowsky



DIVERTISSEMENT BALLET

Character Sketches and Excerpts



Music by Several Composers



IN VIENNA

Humorous Character Ballet in 2 Acts



Music by Johann Strauss



L'AMANT REVE

Romantic Pas de Deux for Ballerina and Principal Male Dancer



Music (Invitation to the Dance) Carl von Weber



DANCES from THE BARTERED BRIDE

Humorous Character Ballet in 1 Act



Music by Friederich Smetana



BALLET IMPROMPTU

Classic Ballet in 1 Act



Music by Johann Sebastian Bach



RUMANIAN WEDDING FESTIVAL

Character Ballet in 1 Act



Music by Georges Enesco



COPPELIA

Ballet in 2 Acts and 3 Scenes



Music by Leo Delibes






MEMBERS OF COMPANY
SEASON 1939–1940

WILLAM CHRISTENSEN
FRANKLYN SMITH
JANET REED
MERLE WILLIAMS
ZELDA NERINA
JACQUELINE MARTIN
MARIA TOVANYA
RONALD CHETWOOD
EARL RIGGINS
BARBARA WOOD
PEGGA BATES
JULIA RANDALL
WILLEM VAN DEN BURG
FRITZ BERENS
LEA VERGANO
ARMANDO AGNINI
DEANE CROCKETT
BETTE GERLACH
ROBERT KEEVER
JEAN DALZIEL
NORMA NEILSEN
FRED STAVER
JEAN HAYS
THOMAS HOLLAND
NORMAN THOMPSON
ZOE DEL LANTIS
ZOYA LEPORSKY
JOHN HEAVEY
INEZ DODSON
FRANK MARASCO
MATTLYN GEVURTZ
ROSALIE PROSCH
HAROLD LANG
MADELINE DEL MOTTE
DANIEL HOCTOR
RUTH RICKMAN
JEANETTE TUCKER




Story of the Ballets
(All choreography by Willam Christensen)

BALLET IMPROMPTU
THE GROUP of formal dances in the Suite in B Minor by Johann Sebastian Bach has furnished the inspiration for a charming classic ballet.

In devising the choreography, Christensen was influenced neither by the Bach period nor the dance form which so apparently influenced the composition.  He felt, strangely, a freedom that was finally translated into movement of rather unique line.  And as a further seeming incongruity, the ballet shows definite signs of what can only be termed the modern influence, yet always staying within the ballet idiom.

Coming as it does at the opening of a program, the exquisite timing and content of this ballet may be overlooked by the unobservant, but to the balletomane it is an hors-d'oeuvre of importance which creates the perfect mood for greater enjoyment of the lustier fare to follow.

The pas de deux deserves particular attention, with its changing line and implications, just as the principal solo shines with clear-cut brilliance.  The music, as written for string ensemble and solo flute, draws a fine thread of continuity through the changing pattern of dance movement.



ROMEO AND JULIET
WHEN TSCHAIKOWSKY composed the Romeo and Juliet Fantasy Overture he was undoubtedly influenced by the Shakespearean Drama that recounted the feud between the Capulets and the Montagues and that dramatized the love of Romeo and Juliet.

In the very first measures Tschaikowsky strikes a portentous note which develops as the music unfolds until reaching the final tragic outburst.

As a ballet, Romeo and Juliet is strictly melodramatic.  Willam Christensen in devising the choreography shows a keen sensitiveness to Tschaikowsky's somberness.  The ballet opens before the church in Verona and it is there that most of the action takes place.

The procession of the Montagues and the Capulets to the church is interrupted by the early conflict of the groups of servants of the two houses.  The action develops rapidly.  An open fight is averted by the entrance of Mercutio and Benvolio but peace reigns for only a brief moment.  Paris appears upon the scene and offers defiance to Mercutio who picks up the challenge bringing on sword play.  Then Tybalt comes from the church to enter the brawl opposite Benvolio.  Paris and Mercutio continue to lunge at each other and a general fight is averted by Capulet who orders all of the contestants to be gone.  The group disperses exchanging bitter looks.

Juliet, returning from church, meets Romeo and there follows a tender love episode which is interrupted by Tybalt, Juliet's kinsman.  Infuriated at sight of a Montague making love to a Capulet, Tybalt challenges Romeo, but Romeo refuses to draw his sword.  He cannot fight with a kinsman of Juliet, whom he loves.

Mercutio accepts the challenge on Romeo's behalf and despite Romeo's pleas engages Tybalt.  Mercutio is killed.  Romeo, unable to stand the sight of his dear friend slain on his behalf, takes the sword of the fallen Mercutio and engages Tybalt.  Before Juliet's horrified gaze, Romeo mortally wounds Tybalt.  Juliet turns from Romeo.  He has killed her kinsman.

Friar Laurence comes from the church and Juliet runs to him for comfort.  The good friar gives her a vial which contains a potion to encourage deep sleep and forgetfulness.  Juliet retires.  Montagues and Capulets gather, for there is a rumor that Juliet is stricken.  Suddenly Paris appears with the unconscious Juliet in his arms.  Apparently she is dead.

The second scene shows a street in Verona.  Romeo inquires for Juliet from the passersby.  Sadly they tell him that she is dead.

The third and final scene is the bier of Ju'iet where she rests surrounded by the death candles.  Romeo, believing that she is dead, casts himself upon her.  Then he swallows a fatal potion and falls senseless at the foot of the bier.  Juliet, reviving from the sleeping potion, finds Romeo dead.  In heart-broken gief she ends her life with Romeo's dagger.






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Romaine
WILLAM CHRISTENSEN
ARTISTIC DIRECTOR
WILLIAM CHRISTENSEN is an American of Danish descent and springs from a long line of musicians and dancers.  His early musical and dance training have formed the foundation of his present accomplishment.

Christensen has been Ballet Master of the San Francisco Opera Company during the past two seasons as well as choreographer of the touring company.  Most of the principal dancers of the ballet have been developed under his personal supervision over a period of several years, having been members of his own company before being incorporated in the San Francisco Opera Ballet.





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Romaine
JANET REED
PRIMA BALLERINA
BORN IN A small community in southern Oregon, Janet Reed is a truly American artist.  Her family were among the early pioneers who crossed the continent in covered wagons to settle in the fertile valley of southwestern Oregon.

Still in her early twenties, Miss Reed has established herself as one of the great contemporary ballerinas.  She first appeared with the San Francisco Opera Company as principal classic dancer during the season of 1937.





MERLE WILLIAMS



JACQUELINE MARTIN


Romaine


DANCES FROM THE BARTERED BRIDE
IN EACH of the three acts of Smetana's opera, the Bartered Bride, the composer provided for a ballet.  There are three separate dance motifs; a POLKA, FURIANT, and THE DANCE OF THE COMEDIANS.

Willam Christensen has taken the three dances and given them continuity as a lusty, comic ballet without serious intention.

The scene is laid in a Czech Village where the peasants have gathered to await the coming of the circus performers, for this is a festival day.  The village simpleton wanders into the scene while peasant girls and boys dance to the Polka.  The Furiant resolves itself into a humorous dance between two of the peasant girls and the simpleton.

But everything is forgotten when the music heralds the approach of the circus.  First comes the ringmaster, then the pony, the clowns, the juggler and the strong man.  In great gaiety the peasant girls and boys watch them perform and enter into the spirit of the performance.



AMERICAN INTERLUDE
THIS BALLET represents a departure from conventional ballet in that it deals with a contemporary subject to the accompaniment of music that is definitely of the vintage of 1940.

Willam Christensen chose a subject for this work which reaches to the very nib of today's news.  The subject was impressed upon him by the increasing tendency of every type of organized group to strike, and this subject he has treated in a delightfully satirical way.

The scene is laid in front of a church in an American City where friends have gathered to witness a marriage.  A Communist very evidently preparing something of no good purpose insinuates himself into the scene trying to ingratiate himself with the spectators.



ZELDA NERINA


Romaine

MARIA TOVANYA


Romaine
In due time the prospective bride appears, on the arm of her father, attended by a bridesmaid.  With a minister waiting and ready, the jitterbug groom dashes in.  The marriage is performed amidst sentimental sighs from the spectators.

There is a sudden and rough interruption.  Six brides appear bearing a placard.  The work of the Communist is now apparent.  To disrupt family life he has formed a union of brides and now they are on strike.  They picket the new bride and convince her that she should join their ranks.  Amidst conflict and confusion she is won over, leaving her groom desolate and alone.  The Communist appears rubbing his hands; his plan is succeeding perfectly.

The second act scene shows the office of a relief agency where the striking brides, as has become the custom, are now asking for relief.  They find three old men comfortably sleeping on desks.  Despite their efforts to arrive at some conclusion, they are thwarted at every turn.

In the midst of the deliberations red tapes spring up from every direction.  The brides, the old men and the red tapes become so tangled that the scene ends in great confusion.  As usual, the Communist appears and is again overjoyed with his success.

During the third act the grooms seek a reconciliation with the striking brides but find it very difficult.  Inevitably, however, the young bridegrooms win out and the brides decide to give up the strike.  The Communist chooses this time to again appear upon the scene.  The brides, the grooms, and all of their friends then realize that they have been led into an unhappy situation through the machinations of the Communist and the scene ends with the Communist being handled very roughly by all of the participants.





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ORIGINAL COSTUME SKETCHES BY HELEN GREEN
Top right: Tybalt in ROMEO AND JULIET. Top left: Cocotte in IN VIENNA. Lower right: Can-Can Dancer in IN VIENNA. Lower left: Montagues in ROMEO AND JULIET.





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ORIGINAL SCENE SKETCHES BY CHARLOTTE RIDER
Top: AMERICAN INTERLUDE. Center: IN VIENNA. Lower: ROMEO AND JULIET.





Upper
RUMANIAN WEDDING FESTIVAL



Center
BARTERED BRIDE



Lower
BALLET IMPROMPTU




IN VIENNA
THIS GAY two act ballet abandons all pretense of seriousness as it depicts a day in the Latin Quarter of Vienna.

The first act shows a sidewalk cafe where a young man-about-town has come seeking diversion.  Through the good offices of an ubiquitous waiter he meets two charming young ladies of the neighborhood.

A young hussar and his lady love are followed in by a flower girl who is unable to sell her wares.  Three nosey women create discomfort among the customers by peering curiously, and rather disgustedly, through their lorgnettes at everyone and everything.


Janet Reed and Willam Christensen in Coppelia


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SCENE FROM ROMEO AND JULIET



SCENE FROM ACT I IN VIENNA



SCENE FROM ACT II IN VIENNA




JANET REED


A waiter tries to induce them to take a table but they spurn him with great contempt.  The snooty ladies are shocked almost into a swoon when a group of can-can dancers disport themselves between the tables.

Led and encouraged by the can-can dancers the entire group make merry at the expense of the horrified women and eventually drive them away with ribald gestures.

The second act is laid in the home of a Viennesse nobleman who is giving a ball.  The

Upper SCENE FROM CHOPINADE


Lower SCENE FROM ROMEO AND JULIET
 guests gather and enjoy dancing to a Strauss waltz.  When the hostess announces that the ballerina from the State Opera House has been engaged to entertain them for the evening, everyone is overjoyed over the treat in store.

But when the ballerina appears, and the men immediately show their infatuation for the charming creature, the women become greatly disturbed and demand that their escorts take them home.  As they are about to leave, the street characters of the first act crash the party.  At first the very proper women guests are quite horrified but eventually the dash and verve of the dancing characters imbues them with the spirit of abandon and as the scene ends the guests find themselves joining the merrymaking.

The music of Johann Strauss provides the musical setting for In Vienna.  The first act music is the Fledermaus overture; the second act, Emperor Waltz. Strauss' Perpetuum Mobile is interpolated for the dance of the ballerina.



L'AMANT REVE
CARL VON WEBER'S composition Invitation to the Dance has formed the perfect musical setting for ballet which has been performed many times, by a ballerina and principal male dancer.

Willam Christensen approached the subject in a somewhat lighter mood than has been the custom.  He has created a whimsical choreographic composition, The Dream Lover, which has blended perfectly with the lilt and charm of the von Weber opus.


The story content is quite negligible, as the ballet is quite illusionary.  A dream lover appears but fades away before the music ends.

Through the entire action of the short ballet the ballerina exquisitely expresses the joy of the maiden meeting the lover of her dreams.  It is a gay and happy experience.

The entire composition provides a perfect vehicle for dance virtuosity.  In this it is a mature and demanding composition and can be approached only by the real ballerina and a polished, mature male dancer.



COPPELIA
LEO DELIBES wrote the three act ballet Coppelia in the later half of the nineteenth century.  It is the typical ballerina's ballet of the period; a demanding role performed by most of the famous ballerinas since the date of its composition.

There is no definite record of an American company having performed the complete work prior to this time and therefore there is definite significance to the performance of this ballet, choreographed by Willam Christensen, as given at the War Memorial Opera House on October 31, 1939 by the San Francisco Opera Ballet.

The first act shows a street in a Galician Village.  On one side is the home of Swanhilda; on the other, the studio of Coppelius, the Toy Maker, in the window of which is a life-size doll.  So lifelike is this doll that all of the villagers believe that it is really alive.  Franz, the betrothed of Swanhilda, has become infatuated with the image and as the scene opens, Swanhilda comes from her home to immediately flirt before the doll.  She tries to attract its attention; she gestures toward it, and finally shows her charms to the doll by dancing for it.  But to no avail.  Franz is heard in the distance, sending Swanhilda back to her home.  When Franz sees that Swanhilda is not in sight, he is drawn to the doll, trying to attract her attention.  He bows, he gestures, and finally blows a kiss.

Swanhilda has been watching from the doorway of her home.  She is angry with Franz and despite his pleas believes him unfaithful.

Groups of young girls and boys arrive dancing.  They have come to meet the Burgomeister who has an announcement to make.  He tells them that tomorrow is a Festival Day as the Lord of the Village has made a gift of a clock.  After the clock ceremony there will be merrymaking in which everyone will have a part.  The girls and boys press around him, asking questions and discussing the Festival of tomorrow.

Suddenly there is a flash from the studio of Coppelius.  Everyone draws back in startled fear.  The Burgomeister regains his composure and tells everyone to have no fear.  It is only Coppelius, an old fool who is always working mysteriously.  And for what?

Then the Burgomeister reminds Swanhilda that the Lord will endow and marry several couples at the festivities tomorrow; that she and Franz will be among the first to be united.


NORMA NEILSEN



INFORMAL PICTURE ON OPERA HOUSE STEPS SAN FRANCISCO



DEANE CROCKETT




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READING FROM LEFT TO RIGHT


Upper

ZOYA LEPORSKY
BETTE GERLACH
PEGGA BATES

Center

JEAN DALZIEL
JEAN HAYS
MATTLYN GEVURTZ

Lower
JULIA RANDALL

But Swanhilda has too many doubts.  She remembers the legend of the blade of wheat which reveals all secrets; she takes a blade, entreats it to tell her the truth, then listens for the answer.

Franz is unfaithful!  Before his eyes she breaks the blade of wheat and throws it at the feet of Franz.  Vexed, Franz withdraws.  Swanhilda's companions console her then dance to help her forget Franz.  Soon Swanhilda joins in the dance, forgetting for the moment.  All of the girls and boys have become imbued with the spirit of the moment and join in the dancing.

As night draws on most of the young people disperse leaving only Swanhilda and her special companions.  It is then that Coppelius comes from his house, locking the door with a double turn.  He gazes toward the window where the doll can be seen then hurries away.

Swanhilda and her companions have watched him.  And now they plague him, taunting him and encouraging him to chase them.  Coppelius is almost beside himself with rage.  He finally leaves.

Swanhilda sees something bright lying on the ground.  It is the key to Coppelius' studio which he has dropped in the melee.  She shows it to her companions and little by little comes the idea of entering Coppelius' studio to learn what mysteries it hides.  They are timid, but encouraged by Swanhilda they finally unlock the door.  One by one they steal through the door.

Franz appears, carrying a ladder.  Now that Swanhilda has repulsed him he determines


SCENES FROM CHOPINADE


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ZOE DEL LANTIS

 to attempt an intrigue with the beautiful creature (the doll) in Coppelius' window.  He places a ladder against the window and is about to ascend as Coppelius returns in search of his key.  Franz hurries away with his ladder.

Coppelius searches the ground for the lost key.  He is unable to find it.  Suddenly he sees the door to his studio ajar and realizes that someone has found the key; that now they must be in his studio.  He hurries up the stairs!

The second act shows the interior of Coppelius' studio.  Swanhilda and her companions are seen entering.  They are very timid and look about in evident fear.  When they encounter the first of the life-sized automatons that Coppelius has created they draw back in doubt and fear.  But it is the mysterious creature in the window that interests Swanhilda.  She finally has the courage to draw the curtains and expose the doll.

Swanhilda bows, very properly, and when there is no response, bows again.  When she touches the doll she discovers that it is just that: a doll.  Now there is great rejoicing and Swanhilda and her companions dance in great glee.

One of the girls inadvertently bumps against the Chinese doll which starts its mechanical workings.  When it stops, they find the key which winds it, and in great glee make all of the automatons perform.

Suddenly Coppelius arrives and the girls are terror-stricken.  They run about in panic, gradually escaping down the staircase.  Only Swanhilda has failed to get away.  In desperation she runs into the space where the doll is sitting and hides behind it.

Franz arrives, seeking adventure with the marvelous creature in the window.  Coppelius binds him before he can unveil the doll and Franz explains that only his infatuation for the wonderful creature could have drawn him into the studio.

Coppelius is struck by a thought.  At last he has a living creature with whom he can carry

SCENES FROM ACT II COPPELIA


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SCENES FROM ACT I COPPELIA
 out an idea!  In a book of sorcery he has read wild tales of taking the heart and mind from a living person and transplant them to an automaton.  He will try!  He lulls Franz and puts him to sleep with a potent drink.

Meanwhile, Swanhilda has changed clothes with the doll and takes its place in the chair.  Coppelius does not know this and in the ensuing scenes believes he has accomplished the supernatural with the doll, his own creation.  Swanhilda imitates the doll so skillfully that Coppelius is never aware of the deception.

Coppelius, believing that he has succeeded in giving life to one of his automatons, gives her a Spanish shawl and does a Spanish dance.  He suggests a Scotch theme and she obeys.  But finally she gets entirely out of hand, chasing Coppelius, until he puts her back in her niche.

But before Swanhilda leaves, she turns over his automatons and raises great havoc in Coppelius' workshop.

The Festival of the Clock comes in the third act.  The Lord of the Village presents a clock as a gift to the villagers which affords them an opportunity for a gala day, to dance and make merry.

Franz and Swanhilda are reunited and express their new found happiness in a pas de deux which plights their troth.  Even Coppelius is made happy by a gift of gold from the Lord to compensate him for the damage done to his beloved automatons.

The peasant girls and boys are promised gifts for their forthcoming nuptials and there is general rejoicing as the curtains close.




READING FROM LEFT TO RIGHT

Upper

FRED STAVER
THOMAS HOLLAND
RONALD CHETWOOD
FRANK MARASCO

Lower

DANIEL HOCTOR
NORMAN THOMPSON
ROBERT KEEVER
HAROLD LANG
EARL RIGGINS



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CHOPINADE
A GROUP of Chopin's pianistic works provides the musical setting for this ballet classic.  The motif and thought is after the choreographic work of M. Fokine's Les Sylphides.  Willam Christensen has made no attempt to follow the dance thought as expressed by Fokine but the general pattern is definitely similar.

While Fokine has placed his Sylphs against a definite exterior background to suggest Sylphs dancing in the moonlight, Christensen has placed his tarlatan clad dancers against formal, abstract black to accentuate the classic form of the ballet without attempt to give it realism.



RUMANIAN WEDDING FESTIVAL
GEORGES ENESCO'S delightfully invigorating Rumanian Rhapsody has provided the musical setting for Rumanian Wedding Festival.

The scene is laid in a Rumanian village and is a celebration in honor of a newly married couple.  The bashful young peasant bride and groom are the center of much goodnatured raillery by their friends.

The village widow comes to the festivities, trailing her two children.  She fondly shows them off by making them dance and in return the boys of the village surround her and draw her into their own dance, much to her confusion.

The Enesco music has encouraged many diversified dance patterns that blend in a rather stylized ballet.

Without attempt to picture Rumanian costumes, and customs, the ballet liberty has, nevertheless, created the feeling of peasantry at play, in the Balkan setting that is highly imaginative.



DIVERTISSEMENT BALLET
THIS IS a pot-pourri, as the title suggests.

Willam Christensen uses a novel opening for this ballet, introducing all of his divertissement characters in procession form to stirring march music from the ballet La Source.

Three dances from Tschaikowsky's Nut Cracker Suite, The Dance of the Sugar Plum Fairy, The Russian Dance and The Chinese Dance follow in true divertissement form.  A classic interlude is introduced to music from Bizet's L'Arlesienne Suite.

The ballet ends with a wild and stirring tarentella with music from Rossiniana by Respighi.