Velocity Program

Houston Ballet Vol. 7, Issue 2

Leading Orthopedic Care to KEEP THE BALLET MOVING

At Houston Methodist Orthopedics & Sports Medicine, we are experts in helping the body do what it was designed to do — stay in motion. As trusted doctors for Houston Ballet, we keep the dancers performing in the spotlight. And, by finding innovative ways to treat their injuries, we’re better able to treat yours. Whether you’re getting back on the stage or back to work, we use the latest technology and advanced therapies to get you back on your feet — and keep you moving.

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VELOCITY CONTENTS

9 FIRST POSITION

Learn about Silas Farley’s inspiration behind his world premiere Four Loves ; hear from Demi Soloist Syvert Lorenz Garcia about Aszure Barton’s Come In ; and join Artistic Director Stanton Welch AM in a Q&A about the creation of Velocity

13 CLASSICAL CROSSWORD Put your ballet knowledge to the test with this ballet terminology-themed crossword

15 VELOCITY Discover the artists behind Four Loves , Come In, and Velocity 33 ÉTOILE Meet the visionary leaders investing

in Houston Ballet’s world-class performances and programs

IN THIS ISSUE 6 Welcome Letter 26 Company Profiles 32 Board of Trustees 36 Annual Supporters 42 In the Wings

HOUSTON BALLET

Houston Ballet 601 Preston Street, Houston, TX 77002

713.523.6300 info@houstonballet.org www.houstonballet.org

Julie Kent Artistic Director

Stanton Welch AM Artistic Director James Nelson Executive Director

Ben Stevenson OBE Artistic Director Emeritus

PUBLISHED BY Houston Ballet

Welcome! Dear Houston Ballet friends, After venturing into the depths of the sea with The Little Mermaid , it gives me great pleasure to welcome you to Velocity, our first mixed repertoire of the season. This triple bill showcases the unique strengths of our dancers, promising an exhilarating performance that captivates and inspires. We begin our program with Aszure Barton’s Come In ; its hypnotizing movements serve as a poignant reminder of our shared humanity within an ever-evolving world. Created for the opening of the Baryshnikov Arts Center in 2006, Come In originally featured the legendary Mikhail Baryshnikov, then 58, and his Hell’s Kitchen Dance, a company of mostly students assembled by Baryshnikov. Restaged as an all-male ballet since its inception, this piece offers a unique opportunity to witness our male dancers in a more intimate and vulnerable light. Accompanied by Vladimir Martynov’s reverent score, Barton’s choreography masterfully pares down movement in unison, inviting the dancers – and us – to simply be. Next, we welcome another Silas Farley original ballet into our repertoire with the world premiere of Four Loves . Taking inspiration from four facets of love, Farley’s ballet offers a vibrant and insightful journey through both expressive and classical movement, set to a commissioned score from

CHIEF DEVELOPMENT OFFICER Angela Lane DIRECTOR OF MARKETING AND PUBLIC RELATIONS Angela Lee DIRECTOR, DEVELOPMENT COMMUNICATIONS & PUBLICATIONS Jasmine Fuller Cane DEVELOPMENT COMMUNICATIONS MANAGER Kharma Grimes DEVELOPMENT COMMUNICATIONS COORDINATOR Amanda Coleman PROJECT STAFF Alexandra Anthony, Lynn Chung, Jared Murphy

his longtime friend Kyle Werner. An emerging talent in the dance world, Silas is dedicated to learning and passing on his knowledge of dance; his devotion to the artform is beautifully evident in this captivating new work, generously made possible by Marguerite Swartz. Finally, we conclude our performance with Velocity , a piece I created in 2003 for The Australian Ballet. When I first arrived in America, I was encouraged to incorporate more classical elements into my work – feedback that stuck with me and expanded and evolved my vocabulary. Velocity pays tribute to the grandeur of classical ballet, challenging every dancer on stage to execute with precision and grace, highlighting their exceptional abilities in the most brilliant way. I’m extremely grateful to Stephanie and Frank Tsuru for their help in bringing this work back to the stage for a new generation of dancers. It’s an honor to share this experience with you all; it’s your presence and passion for dance that keeps the artform – and Houston Ballet – thriving.

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Houston Ballet Vol. 7, Issue 2

Enjoy the performance,

ON THE COVER First Soloist Harper Watters and Charles-Louis Yoshiyama in Aszure Barton’s Come In . Photo by Amitava Sarkar.

STANTON WELCH AM Houston Ballet Artistic Director

6 HOUSTON BALLET

Houston Ballet Artistic Director Stanton Welch. Photo by Julie Soefer.

Enjoy your experience with Houston Ballet!

Grab a drink, grab a snack! Dining and refreshments are available pre-show and during intermission in the Wortham Theater Center, provided by Levy Catering. You can also pre-order beverages at the wine or coffee bar in the foyer. Only drinks served in an approved branded drinking vessel are allowed in the Brown and Cullen theater chamber. All other food and beverage is prohibited inside the theater chamber. BEFORE THE SHOW Restrooms are conveniently located on all floors, with accessible options in the Prairie lobby and main foyer. A family viewing area is available in the Brown Alcove and booster seat rentals are offered for those who need a little extra height. GET COMFORTABLE Find Instagram-worthy photo-ops with our larger-than-life performance banners and information boards located in the foyer by the escalators. During the holidays, you can snap photos by the Christmas tree and gingerbread house at our annual performances of The Nutcracker. CAPTURE THE MEMORY Don’t forget to check out the Houston Ballet boutique in the main foyer. You’ll find wonderful gifts for friends and family or even a special memento for yourself. The boutique is open an hour and a half before each performance, during intermission, and for 30 minutes after the show. Many exclusive items are not available online, so take advantage of the opportunity to purchase something unique while attending the performance. FIND THE PERFECT GIFT

ACESSIBILITY & SAFETY

For accommodations or questions, contact the box office before the performance. Wheelchair-accessible drop- off is located at the Prairie Street entrance, with parking in the Theater District garage (level three). Wheelchair seating is available in Orchestra, Grand Tier, and Founders Box levels. Assisted listening devices are provided upon request. EMT and HPD officers are present during all performances for audience safety. If you misplace something during your visit, please check with an usher to see if your item has been located. If you have already left the theater, please contact 832.487.7000 Monday through Friday from 9 AM to 5 PM for assistance. LOST & FOUND

Please follow the following policies for a seamless experience: IMPORTANT POLICIES

• No late seating is allowed during performances. If you arrive late, you will be asked to stand in the Brown Alcove and watch a live stream on monitors until a suitable time to be seated (usually during intermission). • Sit only in your assigned seat. Ushers are available at all theater entrances to help you find your seat.

• Audiovisual recordings are strictly prohibited. • Please silence all mobile devices before the show. • Children require their own ticket and must be five years or older for The Nutcracker . • There is no smoking or vaping inside the Wortham Theater Center. • Management reserves the right to remove disruptive patrons without refunds.

We hope you have a delightful experience at our performance. If you have any further questions or need assistance, please reach out to our staff. Thank you for joining us at Houston Ballet!

HOUSTON BALLET

FIRST POSITION SPOTLIGHT p. 10 | ANATOMY OF A SCENE p. 11 | EN POINTE p. 12 | UPLIFT p. 13

mWae kr ni negr ’ os ff rt hi eenpdisehciep, ft rootmh eFi ra rslheayraendd po fa sHsoi ouns tfoonr Bc laalsl es itcdaal nacr te rasn. d a d m i ra t i o n C i tTyhteh rdoyungahmci hc udrucoh ma nedt icno Nn ne ewc tYeodr k immediately. F a Rr leemy reemf lbe ec rt si n, “gBtohtehi roffi russt rme aelei zt iendg…, tt hh ae tsoaumrel,i fbeu’ st mo ni seswi oint hs wmeursei cbaans idc a l l y ot hnee cwl ai st hs i cdaalntcrea,dwi thi oi cnhwi si ttho ae smebnrsaecoef renewal.”

Love in Motion Choreographer Silas Farley and composer Kyle Werner give insight into their creation process of Four Loves.

RENOWNED CHOREOGRAPHER SILAS FARLEY returns to Houston Ballet fMo al l rogwa irne gt Ah li ks edke bWuitl lai at mt hse J 2u 0b 2i l 2e e oi nf sDpai rnactei o. Hn ifsr onme wpehsitl obsaol lpeht yd or anwt hs e f(oauf fre cGtri oe enk) , wP ho irldi as (f of rri el onvdes:hSi pt o)r, gEer o s (l or ov em) .a Tn ht iics lwo voer)k, af enadt uArgeaspaen( os pr iigr ii nt uaal l sbcyoFrae rfloery ’as ffur il el no rdc ahne ds t frrae cqoume npto s e d collaborator, Kyle Werner. Love, in its various forms, fittingly undergirds the

By Carlee Sachs-Krook

HOUSTON BALLET

FIRST POSITION

A creative partnership naturally eDme secrrgi eb di nfgr ot hme itrh we i or rf kr i et ongdesthhiepr. , Fc raeral et yi v ee xl yp, laaci ands et mh ai tc ablel yc,aaunsde st hp ei ryi taurael l y aligned, their collaborations have been “super organic.” W Fa e W r l l c e h h y e , a n h n e a d r k t J n i u s e l t i w i e c K h d e e ir n w e t c a c t n o o t m r e s d m S t t i o a ss n p i t o a o n r n t e n d e r we xipt hl oWr i ne rgntehre t foo currelaotveeas , cal acsosni ccaelpbt atlhl eatt has been influential for both. The piece twa ikt ehsat hdei f ffeorremn tosf ef ot uo rf pmr oi nvceimp aelndt as ,necaecrhs asocclooimstps.anied by the corps de ballet and Farley shares: “The first movement [rSe tl aotrigoen]sihs i ap .mTohtehseerc- do na udgmh toevre m e n t [aPmh ial il ae ]f ei smt awl eo pmaasl ed ef rdi eenudx s, .aEnrdo tshi es n A ca g s a t p .” e is a men’s trio with the whole n oFt oornWl y et rhneemr, atthi ce asl tl yr ubcut ut rhei srteosroi cnaal tl ye s amnodv ae rmt iesnt itcsaal lsy eaxst ewnedl il .nHg et hsee ecsl atshsei c a l

SILAS FARLEY’S FOUR LOVES takes iwnhs pi ci hr awt i eo nf eferlolmo vteh. eDde irfifveerde nf rt owma yt hs ei n aa nn cdi eAngta Gp er e, et hkewr eo ar dr es mS t eo ar gnei n, Pg sh ibl ieah, iEnrdo s , love that one word cannot convey. Storge: Familial Characterized by a deep, enduring sense oh fo ll od ys af lot ry, f Sa tmo irlgye. Si tsetahdef ansatt aunr adl ul onvf eo rocne ed , Shteorrcghei li ds tohreal os vi set earmf oort hh ee rr hb ar os tfhoerr. I n ef eseslesnsctea,bSl teoar ng ed isse tchuer ek, i gnrdo owf i lnogv ef r tohma tt h e nwaet ua rr ae l ccl oo ns en et oc tai onndsswh aerhe aovuerwl i ivtehs twh oi tshe. Philia: Friendship Philia is characterized by a deep, mutual ac hf foeoc tsieo nt obbeet wf rei eenndi ns .dPi vhiidl iuaailss twh eh ol o v e tphear ts of onraml lse wv ehl ,e ennpj oe yoipnlge ec ao cnhn eo ct ht eorn’ sa ct hormo pu ag nh yl iaf en’ ds us up ps pa onrdt idnogwena sc .hTohtihs etry p e ob fa sl oevdeoi ns omf tuetnu as le ae dn ma si rvaot il ou nn .t aPrhyi l ai an ids celebrated for its emotional intimacy snyemo cpl ah sosni ci ca lf oBraml a an sc hwi ne lel tarsa tdhi tei o n o f abstract ballets organized into four pi satnheel ss;ptihr ei t uf rai le gnrdasnjdodk ae ut ghha tt etrh oe fb a l l e t Balanchine’s The Four Temperaments . Ideas flowed freely between the aprrtoi cs et iscsp. Wa ret nr neer sr dr eucrai nl l gs pt hl aeyci nr ega t i v e sa nn idp rpeect es i ov fi nagsvc iodreeofso ro fFma rol evye mo veenrt Zt oh oa mt Farley had sketched in the studio. “It was helpful to be able to bounce icdheoarse oogf fr oa pf hh iemr, hbaesc at hu es es ehne s, ea sotf htei m i n g aa nn ds wperro ps oomr t ieoonf, tahned qtuheast thi oenl pseIdh a d a s a c o mE apcohsoefr,”t hWe efor nuerrl oevxepsl ahi na ss .i t s oi nwtnh ed icsot mi n pc toi sviet imo ne,l owdi itch tahl el mf o eu r ultimately weaving together in the final movement. Throughout, various pn au iarni nc ge ss oo ff it nh set rf ouumr el no vt se se.xWp reersnsetrh e says that he aimed to create music that audiences could “relate to and remember” because everyone can

ac lnods et h, ter uj osyt i tnhgaftrci eonmdessh ifpr os m. h a v i n g Eros: Romantic NE raoms erde fae frtse rt ot hr oe mG raenet ki c gaondd opf al sosvieo, n a t e love. Eros is characterized by intense ea mc c oo tmi opnaanl iaenddbpy hayssei cnasleaot tfrlaocnt gi oi nng, o f t e n ae nn dc odme ps iarses feosr tahneotthhrei lrl poef ri ns of ant. uEartoi os n ab no dn dt h. Ee rporsoifso du insdt i nd ce tp ftrho omf ao trhoemr at yn pt iecs oa nf dl o ev me dout ieo nt oa li tps afsosciuo sn .oInt cpahny sbi ec abl o t h exhilarating and complex, reflecting the ve xa pr iroeus ss wr oamy sa np teioc paltet reaxcpt ei or ni e. n c e a n d Agape: Spiritual As agcarpi fei ci isa ol fl ot evne .dI et fiisncehdaar sa cutne cr oi zneddi tbi oy naa l , db ee ienpg, aolft rout hi set ri cs , coofnt ec ne rwn iftohro tuht ee wx peel lc-t i n g ap ne yr st ho ni nagl fi en erl ei nt ug rs na. nTdh ii ss fl oo cv ue ster da nosnc et hn ed s gr er ce ea itveirnggoaondd. Ii ts’ ss eme onraesaab ov iurtt ug ei viinn gmtahnayn religious and philosophical traditions. music,” Werner explains, “then to see wi nhc raet ’dsi bc ol emdi anng coeur ts odfoiitn, gt os us ec eh tbheeasuet i f u l moWvehmenenthtse.”curtain rises, Farley and Wanedrnneoruhriosphevtihewatetrhse’ swpoirriktsw. ill inspire “ h a“ Ws br ei tei nn gs ot hrei cphi ef oc er ,”mWe ei nr nme re dr ei tf al et ci nt sg, oa nn dt hs eo nI ahtoupr ee tohf al to vs oe mi ne mb oydoywe nl s el i fcea, n have that experience too.” expWeirtihenthcee sthcoesree cloovmesp.lete, dancers jFoai rnl ee dy pt hr ea i ps ea si r Hi no us shtaopni nBga tl lheet p i e c e . dt eacnhcneircsa’ l cporl ol awbeosrsa,t wi v ee l sc po imr iitnagntdh e i r contributions. “I think that because the four loves… ao rf et hseo dpar ni mc earl st ht oa tbtrhi ne gr et’hs esipr ascteo rf oi ers a,” l l Farley reflects. v i dWe oe rs noef rhsi hs ai nr ei tsi at lh wa toFrakr wl e iyt hs et nh te dancers. “It’s stunning having been kind of in the wilderness writing the

SPOTLIGHT

Love Defined Take a closer look at Four Loves’

inspiration: the concept of the four types of love, stemming from Greek philosophy.

By Amanda Coleman

10 HOUSTON BALLET

FIRST POSITION

Come In Demi Soloist Syvert Lorenz Garcia shares his experience on revisiting Aszure Barton’s Come In ANATOMY OF A SCENE

MEDITATIVE MASCULINITY

Garcia emphasizes the calm, almost zen-like feeling in the

ensemble movements, where the focus shifts from bravado to a more introspective expression. This serene energy allows the dancers to reveal a side of masculinity that is rarely

CHAIR SECTION A unique element in Come In is the introduction of chairs, where the dancers perform a thematic step. Garcia notes that this section pulls moments from real life, bringing an organic quality to the performance that blurs the line between the staged and the lived experience.

seen on stage—one that is introspective, connected, and deeply human.

By Kharma Grimes

A LITTLE TENDERNESS

BIRDS-EYE PERSPECTIVE

Barton encourages the dancers to be aware of the entire stage, not just their individual roles. This holistic approach, described by Garcia, fosters a “communal sense among the dancers,” allowing them to stay present within each step and contributing to the overall fluidity and cohesion of the piece.

In Come In , the dancers explore intricate, delicate

movements that contrast with the traditional expectations of male dancers. Garcia describes a moment where the ensemble touches their faces in a “tender, almost weighty” gesture, showcasing the softer side of masculinity.

ASZURE BARTON’S COME IN is a poetic ct ho en tt ey mp i pc ao lr aproyr tbraa lyl ea tl ot hf amt ac shcaul ll ei nnigt ye s ot on Vsltaadgiem. Ti rhMi s ai nr ttyrno os pv e’ sc mt i veedpi tiaetci ev e, s e t aml la- lset rdi na ng csecrosr ae n, fde aetxuprleosr et hs itrht ee emne s oOfr vi gui lnnael rl ya bpirl ei tmy, isetrreedn gb tyhH, aonuds tuonni t y. Ba ta Nl l eetwi nYo2r0k1 C9 i at yn dC el antteerr pf oerr ftohrem e d company’s 50th anniversary, Come In now returns to the Wortham stage. Demi Soloist Syvert Lorenz Garcia, who performed in the Houston Ballet pe xr epme riieernec ienr2e 0v i1s9i t, i rnegf ltehcet swoonr kh.i s“ B e i n g

slightly older helps,” Garcia shares. “The steps are still in my body, so this tf ei me lei n, Ig goef t t thoe fmo couvse omne anct hi ni esvt ienagd tohfe j u s t co W py o in rk g i .” ng with Barton has profoundly impacted Garcia’s approach to dance. “She has a way of making you feel like yp or ou caerses ea nl l oo uwgsh t, ”h he ed saanycse. rBs atrot of onc’ su s ot hna tnh set er isvsienngcfeo or ft emc oh vnei cma el np te rr faet chtei or n . Twhhies raeptphreoda ac hn ccerresa ct easn aenx pe lnovrier ot hn emi re n t individual identities onstage. Come In is unique in its portrayal of male dancers. Garcia describes

the piece as offering a “zen-like” ae xt mp roesspshae sr eo fwt ehr,emr eotrheet edna dn ec er rssi dc ea no f masculinity. “It’s always trying to show a different aspect of men,” he explains. “This ballet softens everything and lets ud so ns ’ht oowf t eans gi deet toof oe xupr sl oerl veeisn tthraa td wi t ieo n a l baAllsetG.”arcia and his fellow dancers prepare to perform Come In , they look forward to bringing their personal experiences and refined us tnadg ee r, sotfaf en rdi inngg aouf dt iheen wc eos r ak pt oo wt heer f u l e b x e p . loration of what it means to simply

HOUSTON BALLET

FIRST POSITION

MONDRIAN MUSE

EN POINTE The Art of Precision Stanton Welch AM talks Velocity’s creation, its connection to his other works, and what first-time ballet viewers should watch for.

Composition II in Red, Blue, and Yellow, 1930, Kunsthaus Zürich

ot hf el on otkhien gc haat rda ac nt ecres ai ns at hdea bn ac lel re, tabnedc o m e the emotions of dancers. In Velocity and Divergence , I explored different facets of classical dance. Divergence jdoaunrcnee, yws ht ihcrho ui sg wh he ya ceha ct yh pme oovf ecml a es ns itc iasl different, whereas Velocity is just one concept. Unlike Tu Tu , which reflected olinkethtoe bmeoiondastouftau,dancer and what it felt Velocity is about the ao cf cpueroapc lye awn hd ot hr ee asl pl ye leodv ea nvdi r tt hu eo sdoy n a m i c dt hains cei nn eg r. gTehtei ce, nh ti igrhe- el envseel ma pb pl er oe amc bh ot do i e s dance. To someone who might be watching Velocity and seeing ballet for the first time, what should they be looking for when it comes to classical technique? SW: I’d encourage the general public to think of the Olympics, particularly events like diving, gymnastics, or synchronized si fwyiomumc ai nng’ t, pwi nh eproei nptreevc ei sriyo nt eicshknei yc.aEl v e n do ve et ar ial l, l yeoxuc ec lal ennsct ei l loaf pt hp er epcei ar tf oe rtmh ea n c e . Tinhat’s what you should be looking for Velocity ; these excellent technicians aml lodv oe mi n eg netxst. rAe nmde tl yh ei nrterai cl at ht er, i lf la isst -speaeci ne dg aplel atkh ea tdeaxnaccetrl ys pt heer fsoarmmei ntgi ma te .t hTehierr e ’ s something so extraordinary about this synchronized perfection; that’s what gives you goosebumps.

Backing Velocity’s high-speed moves is set design by Kandis Cook, inspired by the illustrious Dutch painter Piet Mondrian. Renowned for his role in the development of abstract art, Mondrian is known for his distinctive style that emphasizes geometric forms, primary colors - red, blue, yellow - and a grid of black lines. His approach, known as Neoplasticism, reflects his interest in achieving a balance between order and dynamism, influencing modern art and design significantly. “As a painter, his work is characterized by meticulous organization, line, shape, and symmetry -- elements that resonate deeply with the world of dance,” says Stanton Welch. “When choreographing, it often feels like creating lines and shapes, and as a dancer, you focus on these elements in your own movements. My reaction to his paintings wasn’t about him as a person but about how their structured organization

Velocity was created in 2003 for The Australian Ballet – the same year, you were appointed Houston Ballet Artistic Director. Stanton Welch AM: I moved to America in 2000, so Velocity was my first work wt hiet hc oTmh ep aAnuys. tTr ahlei aonr iBgai nl l ae lt caaf tset rolfe a v i n g Velocity wo retrwe ou po fatnhde mc o mw ei nr ge pd rainnccei pr sa. l Os , nbl uy to n e nl aet ae rr,l ys oa lIl hoaf dt hae rme abl el yc as mt r oe npgr icnacsitp. aHl as v i n g been in America for a while, I brought a little more American influence to this ph ai edc ee xt ph ea rni ewnhc ae td Tf rhoe mA ums et r ba el i faonr eB. aTl lheet first movement features predominantly fmemovaelme deannt cfoecrus,sweshoilne tthhee mseacloenddancers. Do ne sspt ai tgeet, hael li rt hr eo lde as nocrewr shwe reer et heexyp ae rcet e d toof tpoepr -f toi remr bwa li ltehr ti nh ae si notre tnhsei ti ry ma nadl es k i l l ct hoeu nc at es rt prae ratl sl y. Tr oh si se wt oa si t ;a ecahcahl lde anng cee, rb u t brought their A-game. Velocity became ah isghhol ywtcaal seen tf eodr ay ogur onug pd oa nf hc eurnsgpr uy,s h i n g tohuetm-jusmelvpeosnteo aonuot-tdhaenr.ce, out-turn, and Can you walk me through what you remember of the creation process? Watching Velocity , it’s reminiscent of Divergence in a way – do you see any similarities in the two? SW: Definitely. Divergence, Velocity, Tu Tu – they’re all a part of the same concept

and symmetry mirrored my appreciation for these qualities.”

12 HOUSTON BALLET

FIRST POSITION

UPLIFT Classical Crossword Put your classical ballet knowledge to the test with this ballet terminology-themed crossword, inspired by Silas Farley’s love for classical technique and Velocity’s root in the traditional form.

Melody Mennite in Stanton Welch’s Velocity. Photo by Amitava Sarkar.

First Soloist Gian Carlo Perez in Silas Farley’s Four Loves. Photo by Amitava Sarkar.

Demi Soloist Syvert Lorenz Garcia in Silas Farley’s Four Loves. Photo by Amitava Sarkar.

Mireille Hassenboehler and Nicholas Leschke in Stanton Welch’s Velocity. Photo by Amitava Sarkar.

ACROSS 4. “Movement of the arms.” The passage of the arms from one position to another; port de 5. Introductory position; the heels stay together, and the feet turn outward in a straight line; Position 6. Complete turn of the body on one foot, either turning inward or outward 7. A “dance for two,” or duet, in classical ballet; pas de 8. Early in the series of positions; the feet turn outward in a straight line, separated by about a distance of one foot; Postion

DOWN 1. Standing on one leg with the other leg extended, straight, behind the body 2. Showing lightness of movement in leaps and jumps; similar in name to a party decoration 3. Position of the feet with one foot directly in front of the other with the first joint of each big toe extending past each heel; Position 5. “Whipped.” A whipping movement. It can refer to one foot whipping in front of or behind the other foot, or when the body whips around from one direction to another 6. Bending the knees with the legs turned out from the hips and the knees open and over the toes

HOUSTON BALLET HOUSTON BALLET

13 13

14 HOUSTON BALLET

VELOCITY COME IN p. 17 | FOUR LOVES p. 19 | VELOCITY p. 20 | THE ARTISTS p. 21 SEPTEMBER 19 – 29, 2024

COME IN 30 minutes INTERMISSION 20 minutes FOUR LOVES 37 minutes INTERMISSION

20 minutes VELOCITY 33 minutes

Approximate Duration 2 hours and 20 minutes

HOUSTON BALLET

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Come In

Choreography by Aszure Barton Music by Vladimir Martynov Come In! By arrangement with G. Schirmer, INC. publisher and copyright owner Costume Design by Aszure Barton

Lighting Design by Leo Janks Staged by Taylor LaBruzzo

Katherine Burkwall-Ciscon , Celesta Denise Tarrant , Violin

World Premiere: Come In was created for Mikhail Baryshnikov and Hell’s Kitchen Dance in Buffalo, NY on June 8, 2006. Houston Ballet Premiere: March 21, 2019 in the Brown Theater at Wortham Theater Center in Houston, Texas. WHAT YOU’RE WATCHING Originally choreographed for ballet legend Mikhail Baryshnikov, this contemporary work for thirteen male dancers offers a raw and immersive experience through its honest, nerve-tingling ensemble movements and breathtaking solos. Set to the meditative all-string score of Vladimir Martynov, Come In explores the depths of human connection and expression. The choreography delves into themes of vulnerability and resilience, creating an intimate dialogue between the dancers and the music. WHAT YOU’RE LISTENING TO Come In!, a 1988 work for strings, celesta, and woodblock by Russian composer Vladimir Martynov, might sound at first like the slow movement of a Romantic-era string quartet, but the contemplative mood is soon interrupted by a “knock” at the door. According to Martynov, “all our deeds are but a timid knocking on this mysterious door”— that is, the door to heaven. Woven into six continuous movements, the celesta and woodblock “knocking” continues as two solo violins soar above a string ensemble chorale. We seem to get our response at the very end, but what is beyond the door is left unanswered.

Is anything as sublime as a stage full of ballet dancers barely moving, simply and purely, in unison? I think not. Aszure Barton’s Come In opens ... on a meditative note that feels like a palate cleanse from the world’s noise. It’s a rumination on the passage of time, the kind of dance that brings you back to life’s most essential truth: We are young, then we are old.” MOLLY GLENTZER, HOUSTON CHRONICLE (2019) “

HOUSTON BALLET

FOUR LOVES

18 HOUSTON BALLET

Four Loves WORLD PREMIERE Generously Underwritten by Marguerite Swartz

Choreography by Silas Farley Music by Kyle Werner

Costume Design by Cassia Farley Lighting Design by Lisa J. Pinkham

World Premiere: September 19, 2024 by Houston Ballet in the Brown Theater at Wortham Theater Center in Houston, Texas.

WHAT YOU’RE WATCHING Silas Farley’s Four Loves is a ballet that explores the multifaceted nature of love, inspired by the concept of four types of love. Choreographed for Houston Ballet, the piece is divided into four movements, each representing a different type of love: Storge (familial), Philia (friendship), Eros (romantic), and Agape (divine). The choreography is deeply rooted in classical ballet while incorporating contemporary elements, allowing dancers to express the complex emotions associated with each love. Farley’s collaboration with composer Kyle Werner, who crafted a symphony for the ballet, enriches the piece with a profound musical and emotional depth. WHAT YOU’RE LISTENING TO The music for Four Loves also draws inspiration from the concept of the four types of love represented in the ballet. Composed for a full orchestra, the commissioned score is rich with melodic themes that reflect the different facets of love, from the warmth of familial bonds to the profound nature of divine love. Composer Kyle Werner blends influence from classical music, including the lush romanticism of Tchaikovsky and the intricate counterpoint of Bach, to create a soundscape that is both accessible and emotionally resonant. Each movement is distinct yet interconnected, culminating in a finale that harmonizes all four themes.

“

It’s an honor to have another Silas Farley work in Houston Ballet’s repertoire. His passion for classical ballet shines in every movement, infusing his work with both tradition and innovation that keeps the art form fresh, vibrant, and profoundly relevant.”

MARGUERITE SWARTZ PRODUCTION UNDERWRITER

First Soloists Gian Carlo Perez, Harper Watters, and Julian Lacey. Photo by Amitava Sarkar.

HOUSTON BALLET

Velocity

Choreography by Stanton Welch AM For Mark Music by Michael Torke By arrangement with Adjustable Music, publisher and copyright holder. U.S. Agent: Bill Holab Music. Costume and Scenic Design by Kandis Cook Lighting Design by Francis Croese World Premiere: August 28, 2003 at The Arts Centre State Theatre by The Australian Ballet in Melbourne, Australia. Houston Ballet Premiere: May 25, 2006 in the Brown Theater at Wortham Theater Center in Houston, Texas.

Generously Underwritten by Stephanie and Frank Tsuru

Velocity was commissioned by The Australian Ballet.

WHAT YOU’RE WATCHING A thrilling departure from traditional ballet norms, Velocity is a high-speed exploration of classical technique. Created by Welch for The Australian Ballet in 2003, Velocity garnered critical acclaim for its explosive twists and virtuosic dance. Welch, reflecting on the piece, noted, “ Velocity is true classical dance at its most agile and exciting. I’m playing with the speed and agility of classical ballet. This work tests the limits and talents of the dancers, because they’re going as fast as they can, pushing their technique and bravado.” WHAT YOU’RE LISTENING TO Velocity is set to two short orchestral works by the American composer Michael Torke: Ash (1988) and Green (1986), part of Torke’s series of “color pieces” inspired by his synesthesia. In both works, Torke takes a single musical idea and plays with tension and release, cause and effect; although harmonies might “sound” tonal, they eschew traditional harmonic development in celebration of a single, vibrant sonority. Ash is insistent and driving; listen for echoes of Beethoven. Green , by contrast, has a shimmering pulse reminiscent of the American minimalist tradition, a major influence on Torke.

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Stanton Welch’s Velocity is a testament to the exhilarating heights that classical ballet can reach when pushed to its limits, offering a breathtaking spectacle of agility and virtuosity of our world-class company.”

STEPHANIE AND FRANK TSURU PRODUCTION UNDERWRITERS

20 HOUSTON BALLET

The Artists has also been a vocal coach and Visiting Artist Professor of Music at the Moores School of Music. While at Houston Ballet, Ms. Ciscon has performed as soloist in the world premieres of Stanton Welch’s Nosotros, Class and The Core , Justin Peck’s Reflections (world premiere of Sufjan Stevens music), Garrett Smith’s Reveal , James Kudelka’s Passion , Ben Stevenson’s Eclipse , and Trey McIntyre’s Bound , among others. She has also been featured as soloist in many works, including Stanton Welch’s Sons de L’âme, Tu Tu and Vi et animo , William Forsythe’s Artifact Suite , Mark Morris’s Drink to Me Only with Thine Eyes , Jerome Robbins’s The Concert (Or the Perils of Everybody), and George Balanchine’s Rubies, Ballet Imperial, and The Four Temperaments. DENISE TARRANT Violin, Come In Denise Tarrant studied at the University of Houston with Fredell Lack; Rice University with Sergiu Luca; Royal College of Music in London with Dona Lee Croft; and Trinity College of Music with Bela Katona. Ms. Tarrant began her professional career as the violinist in the Midland-Odessa (Texas) Symphony at the age of 16. She began her tenure with the Houston Ballet Orchestra in 1986 and was promoted to concertmaster in 1988. Ms. Tarrant has been featured as a violin soloist in several Houston Ballet productions including Stanton Welch’s Maninyas, Clear and the world premiere of Tapestry (Mozart Violin Concerto No. 5 ); world premiere of Jorma Elo’s ONE/ end/ONE (Mozart Violin Concerto No. 4 ); Natalie Weir’s Steppenwolf ; Mark Morris’ Pacific ; world premiere Edwaard Liang’s Mumuration (Ezio Bosso, Violin Concerto No. 1 ); world premiere of Jacquelyn Long’s Illuminate (Oliver Davis, Frontiers ) and world premiere of Jindallae Bernard’s Parodie de l’histoire du ballet (Camille Saint-Saëns, Introduction et Rondo capriccioso Op.28 for Violin and Orchestra ). She has enjoyed an extensive career with Houston Grand Opera Orchestra, becoming concertmaster under the baton of Maestro Patrick Summers in 1999. Ms. Tarrant has also performed

ASZURE BARTON Choreographer, Come In

in Europe and toured to Japan with the Houston Symphony.

Canadian-American Aszure Barton is a choreographer, director, and innovator who has been creating dances since her days as a student at Canada’s National Ballet School. In the early 2000s, she founded Aszure Barton & Artists in order to create an autonomous, interdisciplinary, and collaborative platform for process-centered creation, resulting in choreography that the US National Endowment for the Arts has equated to “watching the physical unfurling of the human psyche.” Over 30+ years, Aszure has worked with celebrated artists and companies including Mikhail Baryshnikov, Alvin Ailey American Dance Theater, American Ballet Theatre, Bayerisches Staatsballett, English National Ballet, Teatro alla Scala, Nederlands Dans Theater, Sydney Dance Company, The National Ballet of Canada, Martha Graham Dance Company, Grand Théâtre de Genève, and Limón Dance Company, among others. She recently premiered a new work ( Mere Mortals ) at San Francisco Ballet in collaboration with British electronic music producer/DJ Floating Points and mixed media artists Hamill Industries, and she is also the current Resident Artist at Hubbard Street Dance Chicago. Throughout her career, she has received accolades including a Bessie Award for her work BUSK as well as the prestigious Canadian Arts & Letters Award. She was the first Martha Duffy Resident Artist at the Baryshnikov Arts Center and is an ambassador of contemporary dance in Canada. Aszure’s latest artistic venture is a creative partnership with acclaimed composer and trumpeter Ambrose Akinmusire. KATHERINE BURKWALL-CISCON Celesta, Come In Chicago native Katherine Ciscon received her bachelor’s degree in piano from Rice University’s Shepherd School of Music, and a double master’s degree in both piano performance and collaborative arts from the University of Houston Moores School of Music. She was named Principal Pianist of Houston Ballet in 1995 and

SILAS FARLEY Choreographer, Four Loves Silas Farley is a ballet teacher and

choreographer. He currently serves as the Armstrong Artist in Residence in Ballet in the Meadows School of the Arts at Southern Methodist University (SMU). Farley is a former dancer with New York City Ballet and former Dean of the Trudl Zipper Dance Institute at The Colburn School in Los Angeles, CA. Farley has taught for the School of American Ballet, New York City Ballet, American Ballet Theatre, Houston Ballet, The Washington Ballet, The School at Jacob’s Pillow, the Peabody Conservatory, the Hartt School, Slovak National Ballet, and the Kennedy Center. He has choreographed for the School of American Ballet, The School at Jacob’s Pillow, the New York Choreographic Institute, Columbia Ballet Collaborative at Columbia University, Works & Process at the Guggenheim, the Metropolitan Museum of Art, Houston Ballet, The Washington Ballet, American Ballet Theatre, and New York City Ballet. Farley was an inaugural Jerome Robbins Dance Division Research Fellow at The New York Public Library for the Performing Arts. Farley has served as a Scholar in Residence at the Jacob’s Pillow Dance Festival. He has written for Dance Magazine and Dance Inde x and lectured at the Museum of Modern Art. Farley is the writer and host of the New York City Ballet podcast, Hear the Dance . Mr. Farley serves on the Board of The George Balanchine Foundation.

KYLE WERNER Composer, Four Loves

Kyle Werner is a NYC-based composer who creates new works for listeners and performers of classical music. His works have been featured by The Washington Ballet, Wolf Trap, MarqueeTV, Guggenheim Works & Process Digital Commissions, Windscape, the Chicago Chamber Musicians, Grand Rapids Symphony, mezzo-soprano Raehann Bryce-Davis, guitarist Jordan Dodson,

HOUSTON BALLET

The Artists

LISA J. PINKHAM Lighting Designer, Four Loves

members of Eighth Blackbird, the Colburn School, University of Michigan, University of Colorado-Boulder, Southern Methodist University, Midwest Composers’ Symposium, Opera on Tap, Palais de Fontainebleau, Society for American Music Annual Conference, Redeemer Presbyterian Church, Tenth Presbyterian Church, Emmanuel Presbyterian Church, Marble Collegiate Church, and New York- Presbyterian’s Allen Hospital. Werner has also served as composer-in-residence at Chamber Music Campania in Varano, Italy and as Music Director of Christ Church Anglican NYC on Manhattan’s Upper East Side. He completed the Doctor and Master of Music degrees in Composition at Manhattan School of Music and a Bachelor of Music in Composition at the University of Cincinnati College-Conservatory of Music, in addition to summer study at the American Conservatory in Fontainebleau, France. His primary teachers included Joel Hoffman, Michael Fiday, Susan Botti, and J. Mark Stambaugh. A passionate music educator, Werner currently serves as the Director of the Geneva Conservatory at the Geneva School of Manhattan and as a member of the faculty at Manhattan School of Music Precollege. He and his wife, Laura, reside in northern Manhattan. www.kylewerner.com

repertoire with works from internationally acclaimed choreographers including George Balanchine, William Forsythe, Jiří Kylián, Sir Kenneth MacMillan, John Neumeier, Twyla Tharp, and Jerome Robbins. Under Welch’s leadership, Houston Ballet has appeared across the globe including recent engagements in Tokyo, Dubai, Melbourne, New York City, and Washington, D.C. Welch continues to nurture the next generation of artists through the Houston Ballet Academy, a leading institution in dance education and training.

Lisa J. Pinkham has designed lighting for over 200 ballets, operas, and plays. Her lighting can be seen in the repertories of many national companies. She enjoys a successful relationship with Stanton Welch AM, and has designed the lighting for many of his ballets, including Maninyas, Taiko, Tu Tu , and Falling for San Francisco Ballet; Madame Butterfly for Boston Ballet and Houston Ballet; Clear for American Ballet Theatre; and Swan Lake, Play, Cinderella, Tapestry, Marie, The Rite of Spring, Sons de L’âme, Paquita, The Young Person’s Guide to the Orchestra, Romeo and Juliet, Zodiac, Giselle, The Nutcracker, Sylvia and Sparrow for Houston Ballet.

BEATRICE JONA AFFRON Guest Conductor

Beatrice Jona Affron joined Philadelphia Ballet (formerly Pennsylvania Ballet) as the assistant conductor in 1993. Four years later, she became the company’s music director. In Philadelphia, Beatrice has conducted many works by George Balanchine and a large repertoire of full- length works, including Giselle, Romeo and Juliet, and The Sleeping Beauty. In 2004, she led the world premiere of Christopher Wheeldon’s Swan Lake . Born and raised in New York City and a graduate of Yale University, Beatrice studied conducting with Robert Spano and with Pascal Verrot at the New England Conservatory, where she later served on the faculty. She led the national tour of Philip Glass’ Les Enfants Terribles and received international attention while conducting the world premiere of Glass’s Galileo . Beatrice’s other engagements include Miss Havisham’s Fire with Opera Theatre Saint Louis, Lucie de Lammermoor with Glimmerglass Opera, Akhnaten and Die Fledermaus with Boston Lyric Opera. With Philadelphia Ballet, Beatrice has performed at the Kennedy Center, New York City Center and the National Arts Center of Canada. She has appeared as a guest conductor with Atlanta Ballet, Boston Ballet, Cincinnati Ballet, Les Ballets Trockadero de Monte Carlo, Miami City Ballet, Nashville Ballet, and Oklahoma City Ballet. Beatrice is delighted to make her debut with Houston Ballet.

STANTON WELCH AM Choreographer, Velocity

Stanton Welch AM was born in Melbourne to Marilyn Jones OBE and Garth Welch AM, two of Australia’s most gifted dancers of the 1960s and 1970s. He joined The Australian Ballet, rising to the rank of leading soloist and performing various principal roles, before serving as Resident Choreographer. During his decades long career, Welch has choreographed over 100 works including audience favorites Madame Butterfly (1995), Clear (2001), and Divergence (1994). His work can be seen in the repertoire of The Australian Ballet, San Francisco Ballet, American Ballet Theatre, and Birmingham Royal Ballet, among others. In July 2003, Welch was appointed Artistic Director of Houston Ballet, America’s fourth- largest ballet company. Welch has choreographed more than 40 works for Houston Ballet, including Marie (2009) and spectacular stagings of Swan Lake (2006), La Bayadère (2010), Romeo and Juliet (2015), Giselle (2016), The Nutcracker (2016), Sylvia (2019), and the upcoming Raymonda (2025). Developing Houston Ballet into a choreographic Eden, Welch has commissioned over 30 works from notable choreographers such as Mark Morris, Aszure Barton, Dwight Rhoden, Trey McIntyre, and Justin Peck, while expanding the company’s

CASSIA FARLEY Costume Designer, Four Loves

Cassia Farley is a former professional ballet dancer, now mother and costume designer. She is originally from Dallas, Texas, and underwent her ballet training in Dallas and New York City and had a performance career with Ballet Austin. Cassia also appeared as a performer at Grace Farms and the Metropolitan Museum of Art, and both performed and spoke for Works and Process at the Guggenheim. She began her costuming work by curating for Silas Farley’s works, then moved into designing costumes for dance. Her work has been worn by The Washington Ballet, Houston Ballet, and New York City Ballet. Cassia is the proud wife of Silas Farley and mother to their son Asa.

22 HOUSTON BALLET

THE ARTISTS

Houston Ballet Orchestra Conducted by Simon Thew and Beatrice Jona Affron

TRUMPET Jason Adams, Principal Chris Boulais Theresa Hanebury* TROMBONE Thomas Hulten*, Principal Michael Warny*

PICCOLO Henry Williford Colleen Matheu Johnson* OBOE Elizabeth Priestly*, Principal Spring Hill Katherine Hart

VIOLA Rene Salazar*, Principal Lorento Golofeev*, Assistant Principal Elizabeth Golofeev Sarah Mason Matthew Weathers Erika Lawson CELLO Barrett Sills*, Principal Erika Johnson Wendy Smith-Butler*

FIRST VIOLIN Denise Tarrant *, Concertmaster Rachel Shepard, Assistant Concertmaster Linda Sanders* Carrie Kauk* Sylvia Ver Meulen* Mary Reed* Oleg Sulyga* Anabel Detrick* Chavdar Parashkevov* Hae-a Lee 2ND VIOLIN Natalie Gaynor, Principal Trung Trinh*, Assistant Principal Elizabeth Frederick* Chloe Kim Miriam Belyatsky Feld*

BASS TROMBONE Richard Reeves*

ENGLISH HORN Spring Hill*

TUBA Mark Barton*, Principal

CLARINET Eric Chi, Principal Justin Best

Dave Zeger* Esra Sturman Matthew Dudzik

TIMPANI Alison Chang, Principal

BASS CLARINET Molly Mayfield

BASS Curry Duffey*, Principal Austin Lewellen, Assistant Principal

PERCUSSION Christina Carroll*, Principal Karen Slotter* Robert McCullagh

BASSOON Michael Frederick*, Principal Amanda Swain* HORN James Wilson*, Principal Jamie Leff Sarah Cranston* Spencer Park

Melissa Williams Erica Robinson* Mila Neal

Greg Garcia* Carla Clark*

HARP Joan Eidman*, Principal

FLUTE Henry Williford, Principal Monica Barker Colleen Matheu Johnson*

PIANO/CELESTA Katherine Burkwall-Ciscon*

*Houston Ballet Orchestra members who have more than 10 years of service

Acknowledgements Velocity backdrop printed by Big Image Systems.

Velocity cutdrop built and painted by Michael Hagen, Inc.

General Counsel: Vinson & Elkins, LLP

Immigration Attorneys: Foster, LLP

The Dancers and Stage Managers of Houston Ballet are represented by The American Guild of Musical Artists, AFL-CIO.

Houston Ballet Orchestra members are represented by Houston Professional Musicians Association, Local 65-699, A.F. of M.

Stage Crew personnel are placed by I.A.T.S.E., Local 51.

Wardrobe personnel are placed by I.A.T.S.E., T.W.U. Local 896.

Houston Ballet is a member of Dance/USA

Touring Representation: IMG Artists

OFFICIAL LUXURY VEHICLE OF HOUSTON BALLET

OFFICIAL SEASON SPONSOR OF HOUSTON BALLET

OFFICIAL HEALTH CARE PROVIDER OF HOUSTON BALLET

HOUSTON BALLET

Artistic Staff Profiles

Julie Kent Artistic Director

(1994). His work can be seen in the repertoire of The Australian Ballet, San Francisco Ballet, American Ballet Theatre, and Birmingham Royal Ballet, among others. In July 2003, Welch was appointed Artistic Director of Houston Ballet, America’s fourth-largest ballet company. Welch has choreographed more than 40 works for Houston Ballet, including Marie (2009) and spectacular stagings of Swan Lake (2006), La Bayadère (2010), Romeo and Juliet (2015), Giselle (2016), The Nutcracker (2016), Sylvia (2019), and the upcoming Raymonda (2025). Developing Houston Ballet into a choreographic Eden, Welch has commissioned over 30 works from notable choreographers such as Mark Morris, Aszure Barton, Dwight Rhoden, Trey McIntyre, and Justin Peck, while expanding the company’s repertoire with works from internationally acclaimed choreographers including George Balanchine, William Forsythe, Jiří Kylián, Sir Kenneth MacMillan, John Neumeier, Twyla Tharp, and Jerome Robbins. Under Welch’s leadership, Houston Ballet has appeared across the globe including recent engagements in Tokyo, Dubai, Melbourne, New York City, and Washington, D.C. Welch continues to nurture the next generation of artists through the Houston Ballet Academy, a leading institution in dance education and training.

Julie Kent became the Artistic Director of Houston Ballet in July 2023, joining Stanton Welch AM as co-artistic leadership of America’s fourth largest classical ballet company. Kent was the longest serving Ballerina in American Ballet Theatre’s 85- year history, dancing a vast repertoire of classical and neo-classical roles from 1985-2015, and working closely with choreographers John Neumeier, Twyla Tharp, Lar Lubovitch, Stanton Welch AM, Alexei Ratmansky, Mark Morris, Nacho Duato, James Kudelka, Jorma Elo, Kevin McKenzie and others. Ms. Kent also danced as an international Guest Artist with the Mariinsky Ballet, New York City Ballet, Teatro alla Scala, Stuttgart Ballet, Berlin Staatsballett, The Australian Ballet, Houston Ballet, Bayerisches Staatsballett, Teatro Colon, Ballet de Santiago, Tokyo Ballet, and others. She won the Prix de Lausanne (1986), Erik Bruhn Prize (1993), and was the first American dancer ever to win the Prix Benois de la Danse (2000). In 2012, she received an Honorary Doctorate of Performing Arts from the University of North Carolina School of the Arts and a “Lifetime Achievement Award” from Dance Magazine and was conferred an Honorary Doctorate from American University’s College of Arts and Sciences in 2023. Ms. Kent also starred in the films Dancers (1987) and Center Stage (2000). In August of 2015, after a 30-year performing career, Kent was named Artistic Director of ABT’s Summer Intensive, a comprehensive summer dance program for 1,400 students at five campuses across the US. From 2016-2023, she was Artistic Director of The Washington Ballet where she brought important classical and contemporary masterworks into the repertoire, commissioning over 26 world premieres. Ms. Kent married former ABT Associate Artistic Director and Principal Dancer Victor Barbee in 1996, and, as a mother of two children, she has helped redefine the image of the American Ballerina.

Julie Kent Artistic Director

Stanton Welch AM The Harris Masterson II Artistic Director

Simon Thew Music Director and Chief Conductor

Australian Conductor Simon Thew was a regular guest conductor with The Australian Ballet between 2013 and 2016, conducting performances in most of the company’s seasons during that time. In 2017 he accepted an invitation to become The Australian Ballet’s assistant conductor, a position he held until mid 2022. He has also worked as a guest conductor for English National Ballet, Birmingham Royal Ballet and Houston Ballet. Mr. Thew was The Australian Ballet’s Conducting Fellow in 2011 and was awarded a Churchill Fellowship. The Churchill Fellowship enabled him to undertake further professional development opportunities with ballet companies, opera houses and orchestras in London, Birmingham, Vienna, Berlin, and New York across 2012. In 2007, Mr. Thew was awarded the Dame Joan Sutherland/ Richard Bonynge Travel Scholarship, which enabled further study in Europe, culminating in his position as musical intern at the Bayreuth Festival in 2008. Mr. Thew was an assistant conductor with Opera Australia from 2007-2010. In 2010, he held the Hephzibah Tintner Fellowship, which gave him performance and mentoring opportunities with The Australian Ballet, Opera Australia, and the Sydney Symphony. Mr. Thew undertook studies in

Simon Thew Music Director and Chief Conductor

Stanton Welch AM The Harris Masterson II Artistic Director

24 HOUSTON BALLET

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