Never mind my analytical observations, the Boston Ballet’s Nutcracker is still an immediate pleasure.
You’re not supposed to look for deep meaning in this often-revised jumbo of a ballet.
What interested me about Bitches Brew was the chance to discover how choreographer Karole Armitage re-rigs classical ballet steps.
Even the hippest of us can succumb to a deep longing for harmony, lush orchestration, and magic.
I’d seen all of these works on the Boston Ballet’s program once or twice in the past. They all seemed to improve with these additional viewings.
The rapturous reaction to Boston Ballet’s performance on Sunday afternoon demonstrated that this kind of work can still move an audience.
My overall impression of the ballet was of earnest pretension.
Boston Ballet’s reconstructed versions of Yakobson’s Pas de Quatre and four Choreographic Miniatures were a revelation.
Tomorrow, Misty Copeland will be American Ballet Theatre’s first African-American ballerina to perform the lead role in Swan Lake in New York City.
Few companies can do pageantry quite like ABT, buoyed by its vast resources as well as on this occasion the company’s desire to celebrate its 75th anniversary with panache.