By Christian Viveros-Fauné
By Miriam Felton-Dansky
By Tom Sellar
By Tom Sellar
By Jessica Dawson
By Tom Sellar
By R. C. Baker
By Tom Sellar
The program the company brought to Jacob's Pillow's final week affirmed these and other connections: Balanchines Who Cares and Duo Concertant; a pas de deux from Val Caniparoli's Lady of the Camelias (Nissinen was a principal dancer in the San Francisco Ballet, of which Caniparoli is still a member); Plan to B by Nissinens fellow Finn, Jorma Elo; and Drink to Me Only With Thine Eyes by Mark Morris, who has staged seven works for the San Francisco company (including Drink to Me in 1996).
Having not seen the Boston Ballet perform for a number of years, I'm not in a position to second the Boston critics' view that the technical level of the companys dancing has shot up since Nissinen took over. But the performing is certainly impressive in terms of both virtuosity and expressiveness.
The Act I duet from Lady of the Camelias is more about feeling than steps, and the brilliant Cuban dancers Lorna Feijóo and Nelson Madrigal invest Caniparoli's swoops into each other's arms with passionate intensity. This is one of those pas de deux in which a man and a woman often race apart so that, after a pause for heated stares, they can rush into increasingly complicatedp embraces (like the tricky one that involves Feijóo being tossed into an air-twist and rapturously caught).
Elos rousing Plan to B wears its virtuosity savvily and with compositional flair. The choreographer chose his music well. The violin sonatas of 18th-century composer Ignaz Franz von Biber are not only difficult; they're eccentric, with very contemporary hints of dissonance, and one of them just stops, as if the musician had tossed his bow aside and gone to to get a drink. The choreography for two women (I saw Larissa Ponomarenko and Kelley Potter) and four men (Sabi Varga, Jared Reddick, Joel Prouty, and Raul Salamanca) also plays with both classicism and modern incursions upon it. The pace never lets up; the dancers burst on and off the stagesometimes with a fidgety energy that swings the body into small, complicated maneuvers, sometimes with big gusts of movement. Prouty is the first to hurtle into double air turns on a slant, but he's not the only one who can pull off the trick. Pirouettes are forever. The audience gasps a lot; even a woman running on air when her partner lifts her is presented (and taken) as thrilling. The nicest thing about Elo's work is that no steps are highlighted or framed by a watch-this preparation; the skillful choreography simply makes the dancers look like a high-spirited bunch of athletes for whom difficulty is an everyday pleasure.
I remember days when crotchety old ballet teachers with Slavic accents didn't want their prize pupils to take modern dance classes lest they ruin their classically molded bodies by wrenching their pelvises around on the floor. Times have changed; the best ballet dancers can adapt to whatever style is offered them.
Balanchine's frisky 1970 Who Cares was spiritedly and elegantly performed by a very international cast (although I found Sacha Wakelin a bit brittle at first). Yury Yanowsky brought a nice ease to his encounters with three sensuously playful women (the Gershwin tunes impelled Balanchine to recall his days on Broadway and add a hint of chorus-girl strutting and primping to his ballerinas' classical decorum). I very much liked Tempe Ostergren in "Ill Build a Stairway to Paradise" (a robust but restrained soubrette) and Pollyanna Ribeiro's clean, bright attack (although her fixed grin bothered me).
Duo Concertant was undermined by the performance of Stravinsky's eponymous music. For some reason onstage violinist Michael Rosenbloom and pianist Freda Locker chose to play very quietly, so under-energized that they might have been marking. The score is not only a dialogue between the instruments; Balanchine created a conversation between music and choreography (the dancers waiting, listening, returning to stand by the piano when each section is finished). Melanie Atkins and Sabi Vargas didn't get the stimulation they needed. Both dance the steps excellently, but haven't quite found a consistent approach to the situation. She, for instance, having been a little cute in the beginning, sentimentalizes the last, poignant, spotlit-in-darkness gesture sequence. Supposed simply to kiss her hand and send the kiss out into the air toward where her partner once stood, Atkins makes the move so elaborate that she obscures its meaning.