Observing company class at the San Francisco Ballet, I能够见证the grace and rigor of the dancers up close. Watching over them in studio are portraits of Ballet founders Lew, Harold andWillam Christensen, a reminder of the institution’s lauded history — and long tradition of male leadership. But as the company approached the opening of its 90th season in recent weeks, the founders have been joined in the studio by newArtistic Director Tamara Rojo, whose arrival has been much anticipated since her appointment was announced a year ago.
“I’ve been able to teach class and work one to one with the dancers,” Rojo said at theBallet’s season-opening galaThursday, Jan. 19. “It’s a good way to get to know them outside the stage environment, a quieter way.”
That has been true for the dancers as well, said soloist Isabella DeVivo.
“She’s challenging, but she’s also very human,” DeVivo said. “We’ve been so accustomed to a certain repertory, and now, I’m looking forward to seeing what Tamara brings with her vision, her experience.”
If the Christensens are the foundation of the company’s storied past, Rojo is seen as a beacon of its future. The 48-year-old dancer and former artistic director of the English National Ballet officially began her role at the company six weeks ago. She is the first woman to hold the position and shares the company’s helm with Executive Director Danielle St.Germain, making San Francisco Ballet one of the rare all-female-led companies in the world.
Review: S.F. Ballet’s 90th season gala marks new beginnings — with a faulty start
“I’m paraphrasing something former (American Conservatory Theater)Artistic Director Carey Perloff said: Women are hired based on resume, men are hired based on promise,” said St.Germain. “It’s hard to build a resume, and Tamara had that incredible opportunity to jump from dancer to being dancerandartistic director. Everything she talks about wanting to do with the company, she’s doing herself, completely hands on.”
For principal dancerYuan Yuan Tan, who performed in the world premiere of Yuri Possokhov’s “Postscriptum” on盛会之夜,的变化leadership has already felt positive.
“有这么好的能源,良好氛围,从这些two ladies,” said Tan, who has been with San Francisco Ballet for 28 years. “I believe I’m the longest (tenured) company member. It’s home to me. With so many very young company members, I’m looking forward to seeing if a new star will be born.”
As guests entered the War Memorial Opera House on Thursday, there was much excitement about Rojo’s first gala. Although the 90th season was programmed by her predecessor, Helgi Tomasson, longtime fans of the company were eager to hear Rojo’s vision as the company continues to evolve in an artistic landscape impacted by the pandemic and demands for social justice.
“Girl power at the San Francisco Ballet!” gala chair Betsy Linder declared during the preperformance cocktail hour. “This is an exciting year for many reasons. We’re one of the oldest ballet companies in the country, (with) the oldest ‘Nutcracker’ in the U.S., and we’re also reaching into the future with new works and new leadership.”
The ballet estimates that $2.75 million was raised by the gala to benefit artistic and educational programs.
Among the high-profile supporters of the company in attendance were former Speaker of the House Nancy Pelosi and her husband, Paul Pelosi, who also attended the opening gala of the Fog Design + Art fair the night before at the Fort Mason Center forArts & Culture. Observers noted that security around the couple seemed tighter than normal. Paul Pelosi wore fedoras on both nights, a reminder of the head injury he sustained during a break-in at the couple’s Pacific Heights home on Oct.28.
“I don’t think we’ve ever missed an opening,” said Nancy Pelosi, “and Paul never misses a performance because he’s here more than I am. We’re so proud of San Francisco Ballet.”
When asked if she had any advice for the women leading the company, Pelosi said, “I think they’re both going to do great.”
After the performance, guests crossed Van Ness Avenue for the gala dinner in the City Hall rotunda, catered by McCalls Catering & Events and designed in black and white by J. Riccardo Benavides. Many of the dancers joined the patrons at their tables and at the afterparty.
“A gala is more challenging than a normal performance. You might be doing just a five-minute piece, so you hope everything goes well because you don’t really have time to settle in,” explained principal dancer Luke Ingham, who performed in Val Caniparoli’s gala-exclusive piece “Double Stop” and in an excerpt of Nicolas Blanc’s “Gateway to the Sun,” which will make its full-length world premiere during the Ballet’s next@90 festival, which beginsFriday, Jan. 20.
Ingham has taken class with Rojo. In addition to being happily surprised she could fit teaching into her schedule during her first weeks, he said, “she’s really been incredible in how she’s communicated with us as a group what her vision is, her expectations, and been so insightful about the future of the company.”
Soloist Katherine Barkman, the newest member of the Ballet, attended the gala even though she was unable to perform because of an injury. Already, she said, she feels like part of the company’s future.
“I was one of Helgi’s last hires, but I also feel like one of Tamara’s first hires,” Barkman noted. “I’ve only ever worked for strong, empowered women leaders. All I can say is that’s the future.”
San Francisco Ballet’s 90th Season
Next@90:Featuring world premieres by nine international choreographers, the festival runs Friday, Jan. 20, through Feb. 11.
‘Giselle’:Retired Artistic Director Helgi Tomasson’s production of the iconic 1840 Romantic era ballet preserves the much-loved traditional choreography in this story of a peasant girl who, deceived by a nobleman, becomes one of the Wilis — vengeful ghosts who dance men to death. Runs Feb. 24-March 5.
‘The Colors of Dance’:This triple bill features the stage premiere of Myles Thatcher’s “Colorforms,” a high-energy take on Steve Reich’s “Variations for Vibes, Pianos, and Strings” that premiered as a dance film in 2021; Tomasson’s elegant “7 for Eight,” to Bach; and an encore of William Forsythe’s “Blake Works I,” to the electronic pop music of English singer-songwriter James Blake. Runs March 14-19.
‘Cinderella’:Christopher Wheeldon’s whimsical treatment of the classic story, set to the well-known Prokofiev score. Runs March 31-April 8.
‘Romeo& Juliet’:Tomasson’s emotionally lush staging of the popular Shakespeare tragedy, also featuring a well-known Prokofiev score, runs April 21-30.
Where:War Memorial Opera House, 301 Van Ness Ave., S.F.
Tickets:$29-$448.
For more information, call 415-865-2000 or visitwww.sfballet.org.
