Billed as “a dazzling and dynamic program that you won’t forget,” Boston Ballet premiered its first of many performances of a new piece, The Fall Experience, at the Citizens Opera House this week. Running from Oct. 24 to Nov. 3, the show ranged from contemporary to classic ballet pieces, with hints of lyric movements throughout.
The show consisted of neo-classical pointe work and divine synchronized movements that left the audience enamored with the choreography. When the lights dimmed low and everyone took their seats, all eyes were on the stunning performance of the dancers and live orchestra. The symphony was timely, and music ranged from classical piano such as Johann Sebastian Bach to more contemporary instrumentals.
The harmonious melange of choreography sent viewers into a trance, as the dancers represented the inevitable unpredictability of life we experience when we take leaps into the unknown.
The costumes were modern and subtle, so as not to distract from the dancers’ performance. The audience could see the dancers as one large group that intertwined beautifully together, yet also stood out as individuals. Although dressed and moving somewhat in sync, each dancer had their own distinctions that set them apart from each other.
Executive Director Ming Min Hui emphasized the Ballet’s “innovative artmaking” and “dedication to making dance accessible for all.” She also shed light on the Company’s efforts to promote the voices of female choreographers in the field.
The ballet consisted of four parts: “The Seasons’ Canon,” “After,” “Ein von Viel,” and “Plan to B.”
The first part of the show, “Seasons’ Canon,” is supposed to represent the four seasons from an emotional and human perspective.
“Set to Max Richter’s take on Vivaldi’s The Four Seasons, her choreography draws on human emotion from her own life experiences,” reads the dance’s program notes.
Choreographed by Crystal Pite, the piece intertwined contemporary music and movements between dancers to create a dynamic work that portrayed the transition between seasons, all through group sequenced movements that left the audience in awe.
“After” was choreographed by Principal Dancer Lia Cirio, who has been with Boston Ballet for two decades. This dance marks her second choreographic work for the Boston Ballet mainstage. Cirio’s ballets showcase a brilliant pairing of her own personal style and technique with her ability to highlight the unique talent of her fellow dancers.
The artist revealed how she was inspired by an apocalyptic, dystopian atmosphere, and drew influence from Lera Auerbach’s preludes for their emotional dynamism. The sensitivity-charged efforts were seen through the elements on the stage reminiscent of paper sculptures.
According to Cirio, the set embodies the qualities that make her choreography unique, including vulnerability and strength.
When describing the significance of “After,” Cirio shared how the piece encapsulates “everything [she’s] learned as a professional dancer.”
Accompanied by Bach’s renowned Goldberg Variations, Sabrina Matthews’ “Ein von Viel” presents an intimate dance between two performers and a solo pianist. The classical ballet-heavy piece was originally commissioned by Artistic Director Mikko Nissinen for Alberta Ballet in 2001, and was crafted with two male dancers in mind.
For the Fall Experience, however, performances will alternate, featuring either two male or female dancers, offering the audience different perspectives on the piece.
Last but not least, “Plan to B”, which had its world premiere in 2004 and was choreographed by Jorma Elo, consisted of different trios, duets, and solos as the shows’ grande finale.
“The simplicity of a trio is juxtaposed by the required complex technical skills,” Matthews said. “The work explores our human connection.”
More intimate than the previous parts, this final piece consisted of the dancers and a solo pianist working together to create a harmonious ending to the show. Its playful gestures, although at times a bit too contemporary, overall worked well together and kept the audience engaged throughout, never leaving time unfilled with a fluid movement.
Leave a Reply