Review of Boston Ballet’s Mirrors (Boston, MA)

Boston Ballet in Karole Armitage's Bitches Brew; photo by Gene Schiavone, courtesy Boston Ballet

Boston Ballet’s Mirrors, alternating with Swan Lake at the Boston Opera House, is a fantastic blend of classical and contemporary ballet and features two world premieres: Smoke and Mirrors and Bitches Brew, as well as Resonance, created for Boston Ballet in 2014, and the stunning pas de deux Belong. From start to finish these pieces captured the audience’s attention and the company demonstrated their incredible versatility and passion for the art of dance. 

José Martinez’s Resonance opened the show with a beautiful blend of classical and contemporary ballet that was not hindered by excessive sets or costumes, but rather showed the athleticism and grace of the dancers who floated across the stage. The main pairs: Lia Cirio with Lasha Khozashvili and Dusty Button with Patrick Yocum, danced with flowing, naturalistic ease.   

Pianists Alex Foaksman and Freda Locker were sensational; adding vibrant energy to the dancer’s every movement. One piano was placed in front of the audience on the left side, while the other was placed upstage center where the dancers moved in front of it. The musicality of the corps de ballet was nicely displayed and their ability to follow each note played by either piano was great. Rarely did the corps de ballet fall out of sync. 

Lawrence Rines, Patrick Yocum, Dusty Button, and Bo Busby of Boston Ballet in José Martinez's Resonance; photo by Gene Schiavone, courtesy Boston Ballet

Belong, choreographed by Norbert Vesak to music by Syrinx was an incredibly striking pas de deux danced by Petra Conti and Eris Nezha. Their musicality, strength, power and grace were perfection. Though it was a short piece, less than ten minutes, they completely captivated the audience and delivered what I believe to be one of their best performances of the season. It was beautifully poignant and I am so glad Boston Ballet has added this timeless piece to their repertoire. Conti and Nezha received a well-deserved extended applause for this must see pas de deux.

Boston Ballet in Yury Yanowsky's Smoke and Mirrors; photo by Gene Schiavone, courtesy Boston Ballet

Smoke and Mirrors choreographed by Yury Yanowsky, former Boston Ballet principal, to music by Lucas Vidal is a visually stimulating and unique mix of contemporary and ballet styles. The set design, by Benjamin J. Phillips, and the use of smoke throughout the piece added another level of intrigue and intensity. The women’s costume included a corset with handles that the gentlemen used to lift and move them around the stage. Designed by Charles Heightchew, these corsets were imaginatively created and their use by the company added a whole other level of movement between the partners. The company moved together very well and overall did a fantastic job with this new ballet.

Anaïs Chalendard and Sabi Varga of Boston Ballet in Yury Yanowsky's Smoke and Mirrors; photo by Gene Schiavone, courtesy Boston Ballet

Bitches Brew with choreography by Karole Armitage is set to the music of the great Jazz musician Miles Davis. The costumes, designed by Peter Speliopoulos featured gunmetal grey leotards and tights that were died different bright colors for each dancer and that matched their colorfully died shoes. This detailed element was a great choice to bringing more life and spunk to the piece. While most of the females wore various hair pieces, lead dancer Ji Young Chae wore her long hair down and used it as a part of her movement.  She entranced the audience and seemed to move as one with the music. Overall, the dancers were entertaining, energetic and well enjoyed by the audience. Bitches Brew is unlike any ballet I have ever seen. It pushes the boundaries of classical and contemporary ballet with a fun edginess while holding true to ballet’s roots. 

Boston Ballet in Karole Armitage's Bitches Brew; photo by Gene Schiavone, courtesy Boston Ballet

The four ballets in Boston Ballet’s Mirrors offer something for everyone, but it only performs at the Boston Opera House until May 28^th.Tickets and more information can be found at www.bostonballet.org.

Review of Boston Ballet’s Swan Lake

Misa Kuranaga in Mikko Nissinen's Swan Lake; photo by Gene Schiavone, courtesy Boston Ballet

Mikko Nissinen’s Swan Lake is back this spring after its incredibly successful World Premiere in 2014. Featuring vibrant, hand painted sets and one-hundred-twenty-seven handmade costumes designed by Robert Perdziola; this production is visually exquisite from the serene lake to the colorful castle ballroom. The magnificent music of Peter Ilyich Tchaikovsky was beautifully brought to life by the Boston Ballet Orchestra conducted by Jonathan McPhee. The opening night performance featured guest artist Gonzalo Garcia, of the New York City Ballet, wonderfully dancing the role of Prince Siegfried and partnering with Boston Ballet Principal Misa Kuranaga as Odette/Odile. Dancing the role of sorcerer Von Rothbart was Boston Ballet Principal Lasha Khozashvili.

Boston Ballet in Mikko Nissinen's Swan Lake; photo by Rosalie O'Connor, courtesy of Boston Ballet

Act one, in the castle garden, was lively, as a superbly connected pas de trois, danced by Ji Young Chae, Seo Hye Han and Junxiong Zhao, entertained the Prince and his guests. The waltz and polonaise that followed were nicely danced by the company. As act two began, the lightness and joy of act one disappeared and as fog rolled into the orchestra pit, Lasha Khozashvili, as Von Rothbart, leapt across the stage. Though his solo was not very long, he danced with power and ferocity. His fierce intensity was a direct contrast to the graceful swans. While the swans were beautiful to watch, the cygnets, Diana Albrecht, Maria Alvarez, Jillian Barrell, and Corina Gill, dancing in complete unison, were a highlight.  Misa Kuranaga amazed as the beautiful white swan queen Odette. Her elegant fluidity and technique were impeccable. Dancing with Prince Siegfried, her characterization of the white swan was perfection. Though Garcia was a guest artist, his connection with Kuranaga was remarkable, as if they regularly partnered and performed together.

Jillian Barrell, Maria Alvarez, Diana Albrecht, and Corina Gill in Mikko Nissinen's Swan Lake; photo by Gene Schiavone, courtesy of Boston Ballet

Act three, taking place in the castle ballroom, was colorful and a joy to watch. The pas de cinq was energetically danced by Dusty Button, Lauren Herfindahl, Addie Tapp, Paul Craig and Patrick Yocum. Following the pas de cinq, a number of small groups danced, honoring Prince Siegfried’s coming-of-age ball, each with unique and stylish pizazz. What got the audience roaring with applause, however, was the pas de deux between Prince Siegfried and Odile the black swan. Kuranaga’s characterization of Odile was perfectly juxtaposed to that of Odette as she donned a cunning smile and danced with evil intent. The partner work between Kuranaga and Garcia was excellent and the audience loved every moment of their pas de deux.

Guest Artist Gonzalo Garcia and Principal Misa Kuranaga in Mikko Nissinen's Swan Lake; photo by Gene Schiavone, courtesy Boston Ballet

Act four began with a billowing, thick fog spilling out from the stage and into the orchestra. In a stunningly, magical moment the swans, at first hidden from our sight, glowingly rose up from the mist. As the fog began to dissipate, they danced as though they were one and beautifully glided over the stage.  The tension increased when Von Rothbart returned, but he was soon defeated by the love that bound Prince Siegfried and Odette to each other. The tragically beautiful ending to this ballet brought the audience quickly to their feet.  

Boston Ballet in Mikko Nissinen's Swan Lake; photo by Rosalie O'Connor, courtesy of Boston Ballet

 Boston Ballet’s Swan Lake performs at the Boston Opera House until May 26^th and if three robust, standing ovations is a sign that this show will quickly sell out once again, as it did in 2014, you should get your tickets now. Tickets and more information can be found at www.bostonballet.org. These performances are dedicated to the memory of former Boston Ballet Artistic Director Violette Verdy.