The whole thing (Minus 16) wasn’t a piece of choreography so much as a choreographed event, and hands down one of the most delightful things I’ve ever seen.
Boston audiences were very lucky in their first two Swanildas. Opening night, Misa Kuranaga was a vision of loveliness…
Chroma: Perhaps it’s meant as a kind of sherbet to clear the palate between the Balanchine pieces… In short, I found the ballet dazzling but soulless.
And together, Kuranaga and Cirio make a superb couple, performing with such sensitive musicality and balanced unison that it sometimes seems you’re watching a single composite creature.
“I think for me the high point is that I don’t see Boston audiences as having any limitations. When I got here everybody was telling me what I couldn’t do and people warned me to play it safe. But I have found people extremely open and willing to explore and I’m really thrilled about that.”
But in Sharper, aggressively awkward movements are kept to a minimum: the ugly is reduced, and the residue now acts like a tonic of wit. And for the first time in Elo’s work, at least in my experience, we find a lyricism and beauty so profound they sometimes took my breath away.
Symphony in Three Movements: This collaboration of two of the giants of 20th century art (Balanchine, Stravinsky) was clearly a marriage made in heaven, and thanks to Boston Ballet’s newest production, we got to attend the nuptials.