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This ambitious but flawed work was created by the 29-year-old artist-in-residence at London’s Royal Ballet, It is driven by the propulsive beat and jazzy flourishes of Bay Area composer John Adams’ 1988 orchestral work “Fearful Symmetries,” whose stunning, 28-minute, jazz-inflected composition is wrapped in alternating tones of light and dark and driven by insistent rhythms in the strings, then the horns, Both choreographer and composer pay homage to William Blake’s poem “The Tyger” (1794), which depicts evil and the good, horror and joy sitting cheek by jowl in “fearful symmetry.” Adams’ soundscape presents this confounding balance personalized ballet shoes two-tone shoulder bag with free personalization & free shipping b1510 with tonal squalls alternating elegantly between tempest and calm and, in the final moments, resolving into a kind of shimmering, if temporary, peace..
Scarlett’s world, however, is weighed down by the apocalyptic decor, and trapped in a welter of sexy but conventional Bob Fosse-meets-Jerome Robbins-meets George Balanchine motifs. Unlike Adams, whose score references Terry Riley, Leonard Bernstein and the Art Ensemble of Chicago with lush yet minimalist grandeur, Scarlett’s dance is no such new hybrid. The work’s gender-neutral costumes and absence of pointe shoes are no substitutes for radical invention. Only when Scarlett throws out the développés and Elvis-style hip gyrations to give us blocks of bodies on the prowl or has a stationary dancer move only her arms does “Fearful Symmetries” move into fresh metaphorical territory.
Nothing else is as riveting as the solo by Gennadi Nedvigin suggesting a ghostly matador, Pulled up and slightly back, he flicks his whole body from one oblique angle to another with absolute economy, becoming simultaneously beauty and ruin, silence and wail, In those moments, fearful symmetry is achieved, By contrast, the addition of the “ideal” to the piece — culminating in a rosy pas de deux, beautifully danced by Yuan Yuan personalized ballet shoes two-tone shoulder bag with free personalization & free shipping b1510 Tan and Davit Karapetyan with LED lights switched off — misses the point of Blake’s concept of creation: It’s not either/or; it’s both/and..
Despite the composition’s cliches, the dancing itself was gloriously dynamic Wednesday, and the dancers brought exhilarating abandon to their performances. Dores André repeatedly corkscrewed herself into space. Luke Ingham managed to be everywhere and yet invisible as he partnered fierce Lorena Feijoo. Joan Boada seemed to run endlessly, while Frances Chung shape-shifted fearlessly. The most daring and inventive ballet on the night’s program, however, was its oldest –“Rubies” (1967), by Russian-born George Balanchine. The late founder and artistic director of New York City Ballet made this work as part of his gem trilogy, though “Rubies” is the segment most often performed alone. It’s obvious why: Mashing up American vernacular dance from the cake walk to square dance to music-hall and jazz, he sets these idioms like gems into a neoclassical ballet structure with impeccable musical playfulness, creating a quintessential American work that is sexy, haughty, jaunty, witty and both low-brow and high-brow.
As the central couple, Maria Kotchetkova and Joseph Walsh brought an apt spirit of fun to their dancing and nailed the syncopated rhythms of Stravinsky’s moody “Capriccio for Piano and Orchestra” (1929), Sofiane Sylve — as a kind of Amazon queen, replete with tiny crown — personalized ballet shoes two-tone shoulder bag with free personalization & free shipping b1510 projected the necessary hauteur but was still finding her way around the role’s contours, particularly Balanchine’s devious burlesque sense, Pianist Roy Bogas conjured up Stravinsky’s gorgeous rumblings with his usual elegance..
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