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While one or two (or three or four, depending on whether your New York point of view extends beyond the Hudson) ballet companies may arguably present the “best” dancers, whatever that might mean, there is no question that dancers now performing in ballet companies in most every nook and cranny of this country can be both technically brilliant and thrilling to watch.
Whether this decentralization of talent is a product of choice (dancers preferring to work in a less intense venue or closer to home), or the fact that talented dancers must find a home somewhere, the result is a boon for the dancegoing public, and reflects the ever-increasing numbers of highly capable dancers graduating from ballet schools that are staffed by ever-increasing numbers of former professional ballet dancers who, also whether by choice or because they too have to go somewhere, impart their expertise to their students wherever these students may be.
But this excerpt from Chaconne is a painless way to do it.
The pas de deux can stand on its own, and does not necessarily invite comparisons.
But it has its own flavor, at least based on Sweet and Bitter, which was given a special “preview” performance during this Joyce run (it’s scheduled to officially premiere in Salt Lake City next May, during Ballet West’s second annual National Choreographic Festival).
As I listened to the composition, I heard – aside from the plucking of the strings – a sound panoply that brought to mind an Asian form of Bernstein or Copland.
To me the most noteworthy of the pieces on this program was one that, officially, wasn’t there.