When international stars of ballet gather in the beautiful bubble of a town that is Vail, magic is bound to happen. The second night of Vail Dance Festival’s “International Evenings” certainly saw magical moments, with crowd-pleasing highlights feathered throughout.
This Festival wastes no time waiting to be festive; The show erupted with an epic opener, “Vail Dance Jam,” a collaboration between the dancers, musicians, and choreographers of the festival. The music was wonderfully rollicking, setting the tone for more fun to come.
The first act continued with a series of pas de deuxs: first a very sweet Flower Festival in Genzano from American Ballet Theater (ABT)’s Isabella Boylston and Mikhailovsky Theatre’s Julian Mackay, followed by an other-worldly Merce Cunningham excerpt from Trails danced in beautiful sync despite the music’s irregular rhythm by ABT’s Calvin Royal III and Melissa Toogood, and finally La Sylphide, performed by Festival newcomer Maria Kochetkova and New York City Ballet (NYCB)’s Joseph Gorden. The August Bournonville style (showcased here in Flower Festival and La Sylphide) can be quite academic-looking, but the joining of these incredible artists has proved once again that Vail Dance Festival is a breeding ground for growth and exploration.
Alvin Ailey American Dance Theater’s Jacqueline Green wowed the crowd in another Ailey solo, this time to Duke Ellington’s vivacious music in an excerpt from Pas de Duke. She moved with crisp, clear confidence, hitting every step so full out it was as if she was making the music with her body.
The first half closed with a real stand out performance- English National Ballet’s Alina Cojocaru and ABT’s Herman Cornejo in the Balcony Pas de Deux from Romeo & Juliet. Wow. This had me on the edge of my seat, waiting on every effortless lift, exquisite pirouette, and nuanced breath. In this pairing, the audience received true artistic and technical expertise, a cosmic meeting of dancers and musicians that is rarely found. Cojocaru simply is the music; Her innate ability to make her audience hear every note in the score cannot be taught. What a treat.
Act II opens with another peak; the world premiere of Alonzo King’s The Personal Element. This mesmerizing ensemble collected dancers from LINES Ballet and New York City Ballet in a whirlwind of sweeping movement, King’s choreography seamlessly sculpting the dancers into every formation imaginable. The dancers split into pairs and then join back together, zipping up into miniature tornados of movement and then melting back down into the music, a hypnotic score composed and played live by the incomparable Jason Moran.
The evening continued with two more pas de deuxs, this time featuring this year’s Artist-in-Residence, Lauren Lovette, and ABT’s James Whiteside in George Balanchine’s playful Duo Concertant followed by the calm and refreshingly human The Still Point, danced by ABT’s Devon Teuscher and Cory Stearns. The latter offers the delicate study of a relationship, both passionate and comfortable, conflicting and familiar. The former celebrates yet another Festival partnering win, Lovette and Whiteside’s spritely energy and effortless musicality combining just perfectly in this seemingly made-for-them ballet.
A Festival favorite 1-2-3-4-5-6 closed the performance, jolting the amphitheater with a tangible energy only the dream team of Michelle Dorrance, Lil Buck, Melissa Toogood, and James Whiteside can serve up. This mixed-genre piece showcases the diverse talents of the artists, as they perform their own choreography and improvography while still maintaining a cohesive and all too fun to follow work of art.