Ravinia 2022, Issue 6

BENNETT GORDON HALL 1:00 PM SATURDAY, SEPTEMBER 17, 2022 EINAV YARDEN, piano # C.P.E. BACH Rondo in C minor * Rondo in G major * Fantasy in E-flat major * J.S. BACH Chromatic Fantasy and Fugue C.P.E. BACH Sonata in D major * Allegro di molto Allegretto Presto di molto Fantasy in C major * EÖTVÖS Dances of the Brush-Footed Butterfly * –Intermission– BRAHMS Selections from Seven Fantasies, op. 116 No. 1. Capriccio in D minor No. 2. Intermezzo in A minor No. 3. Capriccio in G minor No. 6. Intermezzo in E major No. 7. Capriccio in D minor BEETHOVEN Piano Sonata No. 30 Vivace ma non troppo—Adagio espressivo [ attacca ] Prestissimo Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo) # Ravinia Steans Music Institute alum * First performance at Ravinia Martha Duffy resident artist at the Barysh- nikov Arts Center and is an official ambassa- dor of contemporary dance in Canada. She is the founder of Aszure Barton & Artists, an interdisciplinary international dance project. Amy Hall Garner is a native of Huntsville, AL, and a graduate of The Juilliard School. Her work has been praised internationally and commissioned by Ailey II, ABT Studio Company, Collage Dance Collective, Juil- liard, The Ailey School, Barnard College, The University of the Arts, Columbia Ballet Collaborative, Point Park University, and Central Pennsylvania Youth Ballet. Recently, she has received virtual commissions from BalletX, Dance Theatre of Harlem, the Gug- genheim Museum’s Works & Process Dig- ital Series, ABT Studio Company, Boulder Ballet, and a virtual collaboration between Miami City Ballet and Paul Taylor Ameri- can Modern Dance. She personally coached Grammy Award winner Beyoncé, providing additional choreography for The Mrs. Carter Show World Tour . Theatrical choreography credits include The Color Purple (Milwau- kee Repertory Theater) and Invisible Thread (Second Stage Theater, NYC, associate cho- reographer). Garner was one of the first re- cipients of the Joffrey Ballet’s Choreography of Color Award, and in 2018 she was selected to participate in Alvin Ailey’s New Directions Choreography Lab. She is an adjunct profes- sor at New York University’s New Studio on Broadway at Tisch School of the Arts. In 2021 Garner was a Virginia B. Toulmin Fellow at The Center for Ballet and the Arts. Currently, she is creating and reimagining the classical ballet narrative The Nutcracker at Baltimore School for the Arts. Lar Lubovitch founded his eponymous dance company in 1968; in the half-century since, it has gained an international reputa- tion as one of America’s top companies, pro- duced more than 120 dances, and performed before millions across the US and over 40 countries. Many other major companies have performed the its dances, including Ameri- can Ballet Theatre, New York City Ballet, San Francisco Ballet, Paris Opera Ballet, Royal Danish Ballet, Alvin Ailey American Dance Theater, the Joffrey Ballet, and Martha Gra- ham Dance Company, among many others. Lubovitch has created ice-dancing works for Olympians John Curry, Peggy Fleming, Dor- othy Hamill, Brian Orser, JoJo Starbuck, and Paul Wylie, and he has created feature-length ice-dance specials for TV: The Planets for A&E and The Sleeping Beauty for PBS and Anglia TV. His theater and film work in- cludes Into the Woods , The Red Shoes (earning an Astaire Award), the Tony Award–winning revival of The King and I , Disney’s Hunchback of Notre Dame in Berlin, and Robert Altman’s movie The Company . In 1987, he conceived Dancing for Life at Lincoln Center, the first response by the dance community to the AIDS crisis. Together with Jay Franke and in collaboration with the City of Chicago and the Museum of Contemporary Art, in 2007 Lubovitch created the Chicago Dancing Fes- tival, which presented 10 seasons entirely free to the public. In addition to being named Chicagoan of the Year by the Chicago Tri- bune (2007) and Chicago Magazine (2008), his honors include the Bolshoi Theatre’s 2012 Prix Benois de la Danse for Crisis Variations , lifetime achievement awards from the Ameri- can Dance Guild (2013) and American Dance Festival (2016), an honorary doctorate from Juilliard (2014), being named an Irreplaceable Dance Treasure by the Dance Heritage Co- alition, and the Martha Graham Award for lifetime achievement. Spenser Theberge is a multi-hyphenate performer and creator, working across the fields of choreography, dance, movement direction, and pedagogy. He is a graduate of The Juilliard School and a former company member with the Nederlands Dans Theater I & II and The Forsythe Company, as well as a guest artist with Kidd Pivot, the Goteborgs Operans Danskompani, the ARIAS Com- pany, and RGWW. Theberge’s creations are multi-disciplinary and genre-defying, con- tinuously exploring identity, authenticity, and spectatorship. His individual work, as well as his work with partner Jermaine Spivey, has been commissioned and presented by LA Dance Project, The Broad Museum, The Phil- ip Glass Days & Nights Festival, The Korzo Theater, Gothenburg Opera Dance Compa- ny, Place des Arts, Hollins University, PACT Zollverein, Reed College, and NAVEL. As a movement director and performer, Theberge has worked with artists, brands, and organi- zations such as Taylor Swift, Rihanna’s Sav- age×Fenty, Ben Platt, Gwen Stefani, LANY, UGG, Rami Malek, Ryan Pfluger, the Tune- yards, and the New York Times Magazine . He has also designed costumes for Andrea Mill- er, the ARIAS Company, and performing art- ist Frances Chiaverini, and is the text writer behind Alexander Ekman’s award-winning Cacti and Hubbub . Honored as a Presiden- tial Scholar in the Arts and a Princess Grace and YoungArts Award winner, Theberge is a former dance faculty member at California Institute of the Arts, as well as guest faculty at Juilliard, USC’s Kaufman School of Dance, and conservatories, schools, and programs across the Americas, Europe, and Asia. “ Ne Me Quitte Pas has been with me for over 10 years now, and getting the chance to revisit and reimagine it with HSDC has been a total honor. The chance to work on this piece again reminds me that process is some- thing we have to fall in love with as dancers. My goal in this iteration of Ne Me Quitte Pas was to create a frame where the dancers can perform the act of process, and where the audience can witness the dancers caring for their work and for each other in real time.” DANCER PROFILES Please see tonight’s program book insert for complete casting and profiles. RAVINIA.ORG • RAVINIA MAGAZINE 45