Word: glazounov
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Adriana Suarez is quite possibly one of the greatest things ever to happen to the Boston Ballet. Her dignified elegance shone in "Glazounov Classique," the preview selection to last spring's "A Midsummer Night's Dream." She sparkled as the soloist in "Passage," the world-premiere conclusion to this fall's "Boogie, Brass and Blue." And now, once again, she combines beauty and strength with fiery fervor on the stage of the Wang Center, this time as the lead role in "Carmen...
...curtain-raiser to "A Mid-summer Night's Dream," the Boston Ballet performs a short dance entitled "Glazounov Classique," an elegant piece with several short solos. Each of the dancers give an excellent performance, but Adriana Suarez in particular stands out. As the lead female of the dance, she is an absolute wonder to behold. Her fluid style contrasts with her sharp, majestic movements to create a spellbinding performance...
...here comes Misha, 1983 edition, a busy man indeed. Into his private space-a space he defines with whipping spins, sudden leaps followed by trancelike stillness-comes a very young woman in red (Deirdre Carberry) to be partnered through soupy Glazounov waltz tunes. That is no easy job, since this muse is coltish and blithely selfabsorbed. Three more young women (Elaine Kudo, Nancy Raffa, Amanda McKerrow), wearing costumes that suggest old-fashioned pinafores, glide in and out. At the end, his red-geranium partner's having vanished, Baryshnikov is hypnotized by the retreating figure of McKerrow...
...GLAZOUNOV: VIOLIN CONCERTO (Walter Hendl conducting; RCA Victor). Heifetz in a sparkling new performance of the 59-year-old work by the late cosmopolitan Russian, who studied with Rimsky-Korsakov but was more influenced by Brahms. Filled with musing melodies, effortless ornamental passages and infectious rhythms, the three movements are played in one romantic sweep...
...groups of dances, four were traditional, the best being Glazounov's "Raymonda" with the Balanchine choreography. But it seems to me that a contemporary arts festival program should be at least half made up of modern works. The Jean Francaix number was cute and innocuous; but the Festival committee ought to have vetoed "The Duel," in which William Dollar's gifted choreography was wasted on incredibly cheap music by Raffaello de Banfield. I would like to have seen one good modern American work, perhaps a new ballet from a New England composer...