american ballet theater at the metropolitan opera house

Tsypin's background here is dominated by looming portrait heads in the style ofĪ banned Russian avant-garde and anti-Cubist painter. Who interacts with three women, perhaps representing Shostakovich's own three wives. It presents a central figure as a haunted artist, effectively portrayed by a downcast

'Chamber Symphony' is the most overtly emotive of the works on the bill. Were the suitably athletic and heroic leading couple, while a lone and fleetīreezed through as a Mercury-like figure. 'Symphony #9,' now given a new background depicting a sky filled with Soviet-styled heroic figures, rides the crest of Shostakovich's often cheery music as it is also shaded by watchful, uneasy glances and other gestural asides. ) and his 1933 'Piano Concerto #1'-offers a glimpse into the Soviet times during which the music was created. Each part of the trilogy-which also includes the composer's 1960 'Chamber Symphony' (arranged by Ratmansky has given ABT a trio of insightful and theatrical dances that look intriguingly into Dmitri Shostakovich's music while revealing an abiding interest in showcasing the individual dancers making up his cast. Has design credit for all three works-'Symphony' starts off the all-Shostakovich program with musical savvy and dramatic richness. Now, with reworked costuming and a background by The first of these, 'Symphony #9,' was shown in a slightly different version this past fall at City Center.

In an even more ambitious effort, ABT also offered 'Shostakovich Trilogy,' a triple-bill of new ballets by Artist-in-Residence The only wrinkle in the production remains the climactic appearance of the saddened Natalia, wearing a housecoat with streamers trailing behind her so the departing tutor, unseen by her, can plant regretful kisses on them, making Natalia look as if she were a steed outfitted with loose reins. ABT's first cast, led by a finely nuancedĪs Natalia Petrovna and a dashing Roberto Bolle as the hired tutor whose attractiveness upsets the whole household, proved entrancing in every way. Oman's sets and costumes all keyed in a summery palette of creamy whites and sky blues, 'Month' greets the audience with a whole world of wonders both intimate and individual. Most rewarding of all was the company's first-ever staging ofĬhopin-accompanied 'A Month in the Country' (1976), a near-perfect ballet of

American ballet theater at the metropolitan opera house