Word: ballets
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Though retaining traditional elements, Boston Ballet’s production follows George Balanchine’s neoclassical choreography of “Coppélia.” The ballet was originally cast in 1974 for Patricia McBride (Swanilda) and Helgi Tomasson (Frantz), two of Balanchine’s greatest stars in the New York City Ballet. This spring, Judith Fugate staged “Coppélia” for two of Boston’s own stars: Misa Kuranaga and Nelson Madrigal...
...took to the stage with flawless technique, embodying the spirit of the young, vivacious Swanilda with spunk. Madrigal portrayed a naïve and good-natured Frantz, complementing Kuranaga both in character and skill. The first act was light and playful—the dancers of the corps de ballet (the chorus of the Boston Ballet company) swished their period costumes in Balanchine’s authentic character dances. Character dances are stylized portrayals of folk or national dances...
...this second act that Léo Delibes is truly distinguished as a dancer’s composer. His symphonic score faithfully highlights the ballet’s plotline while drawing upon national themes and adding whimsical sound effects to hold the attention of the audience. Though conducting for ballet is notoriously difficult, Maestro Jonathon McPhee skillfully led the Boston Ballet Orchestra while paying close attention to the dancers on the stage...
...series of dances to commemorate moments when the town bells would be rung—dawn, prayer, work, war, and peace—Boston Ballet’s principals and soloists performed with grace. Soloist Rie Ichikawa (as Dawn) and Whitney Jensen (as Spinner), one of the corps de ballet, gave particularly technically sound performances. They were accompanied by more than 30 young students of the Boston Ballet School, who were endearing in their meticulous symmetric formations and tiny pink tutus...
...groups share a desire for competition and also a basic language: ballet. “You can’t walk until you crawl, and you can’t dance until you learn ballet. It’s the foundation of everything,” Szpak says. “The connection between ballet and dance team is like with the alphabet: once you have the letters down, you can make any word.” This dance alphabet leads to the diverse styles CDT performs, and just as with a spoken language, it’s easier...