A radiant glimpse of talent to come
It is hard to envision a more dazzling showcase for the Boston Conservatory's students than this weekend's program of dance with live orchestra. The concert adeptly highlights the breadth and depth of the conservatory's dance training with the romantic ballet ''Les Sylphides" and two world premieres created especially for the students by Luis Fuente and Sean Curran.
Then there's the music, which is front and center in the form of a full orchestra on the floor just below the stage (there was no pit). Led by Pennsylvania Ballet music director Beatrice Jona Affron, the orchestra on Thursday competently tackled a challenging slate of music ranging from Chopin waltzes to Beethoven's Piano Concerto No. 5 to Stravinsky's ''Pulcinella Suite." The evening's only real downside is a perennial issue: The Boston Conservatory Theater's stage is far too small for the ambitious program, and the orchestra's all-too-visible presence sometimes distracts from the dance. However, of the 76 dance majors at the conservatory, a whopping 53 are involved in this production, so accommodations should be suffered without too much griping.
The evening's greatest delight was the premiere of Curran's rousing ''Pulcinella (A Post Modern Baroque Approach)." This charmingly playful piece is the choreographer's strongest work to date. There is a rich theatrical subtext, some boy-girl flirtation/jealousy/reconciliation, but it's the movement itself that carries the work. Curran plays off the courtly strains of the music but embellishes the gavottes and minuets with quirky gestures and vivid movement invention. Leaps and turns full of balletic lyricism are subverted by a little street jive here, a little kick-stomping, torso-pumping African dance there.
It's totally engaging, and the young dancers for whom the work was created embrace it with energy and pizazz. Emiko Tokunaga's costumes, fantastical black and white multi-paneled skirts and pants trimmed with red, were dynamite.
At the other end of the spectrum was ''Les Sylphides." One of the world's most popular ballets, Fokine's 1909 abstract work is the epitome of Romantic grace and refinement, and the young dancers had a real feel for the classical line, elegant demeanor, and timing that are critical to pulling it off. Conservatory faculty Leslie Woodies and Denise Pons, both former Boston Ballet soloists, impeccably prepared the corps, from large ensemble patterning to the smallest details of hands and head.
Soloist Elizabeth Alexander was especially notable in the Mazurka, with exquisitely controlled extensions and balances as well as lovely length and suspension in her leaps.
Luis Fuente's new ''Con Temperamento" is another terrific vehicle for the students. This abstract neo-classical ballet for 15 is set to the first movement of Beethoven's heroic ''Emperor" Concerto (given a sparkling performance by pianist Steven Kim, who graduated from the conservatory last year). It's a busy blur of entrances and exits that sends the dancers flying across stage in vivid leaps, swirling turns, and soaring partnered lifts. The longtime faculty member clearly knows what his dancers can do and exploits their skills to the fullest. Min-Tzu Li was sprightly and articulate as the work's soloist. The men stood out as well, but not always to best advantage, tending to hot-dog flamboyant moves at the expense of ensemble cohesion. But individually, there's tremendous potential looking for a chance to shine.
