Word: ballets
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Dates: during 2000-2009
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...Boston Ballet’s new show delivered what its title deftly suggested: “new visions” for the ambitions of modern ballet. Most interestingly, it both affirmed and denied ballet’s classical roots in its quest to discover just how “modern” modern ballet will become. With each of its three episodes—“Break the Eyes,” “Polyphonoia,” and “Sonata for Two Pianos and Percussion”—“New Visions...
Beautifully choreographed by Val Caniparoli and set to the music of Bartók, “Sonata” stood out for its vivacity. Divided by two marches, the dancers began with moments of swelling creativity, traditional ballet positions were redefined with sharp, angled arm movements...
...accounted for this tension in all aspects of the show, from the ballet itself to its surrounding atmosphere. The music abruptly alternated between Mozart’s chamber pieces and Nancy Euverink’s synthesized soundscape “Sub Pulse 2.” The costumes, by Charles Heightchew, were classical tutus—but also frayed and skin-colored so that the dancers appeared nude to the audience. The movement was classically grounded, but also edgy and fractured. All in all, it was a jarring performance...
...ballet, world premiered by the New York City ballet in 2001, was a neoclassical ode to choreographer George Balanchine. With four couples clad in simple, plum-colored leotards, the performance began where all performances truly begin: in ballet class...
...Visions” provided a night of innovative and exhilarating dancing. Although there were a few disappointing moments, particularly toward the end, it was still a pleasure to watch modern ballet maintain its classical origins while evolving in a completely new direction. For its audiences, “New Visions” truly provided a glimpse of the future of ballet...