Not all of that change is positive, most apparently Friday night in the way the troupe danced Balanchine, which has been the MCB’s defining bedrock. Lopez seems to be placing greater emphasis on technical precision, correctness, cleanness and clarity. Barocco’s lovely central adagio section had a flowing, silken quality, with Carlos Guerra a paragon of seamless partnering for Katia Carranza, weaving through eight corps dancers in softly soaring lifts and weaving patterns, to the lovely melody of Bach’s Double Violin Concerto in D Major.
The piece [Jardí Tancat] flattered the MCB dancers, who took to it with authority and ease. Emily Bromberg and Andrei Chagas, Leigh-Ann Esty and Chase Swatosh, Leanna Rinaldi and Shimon Ito, all made the most of this chance to expand their art and give back a sense of adventure and truth on stage that are very rare indeed. MCB Director Lourdes López is putting her mark on the company in her first full season as artistic director, and the choice of this ballet so far from the company's comfort zone is a daring and happy one.
Without exception, the soloists are superb. ENB artistic director Tamara Rojo is a class act as Medora, her technical skill combining with both elegance and charge. There is a certain precociousness to her dancing, which perfectly suits the character of this alluring figure, and yet her vulnerability is equally obvious. Matthew Golding as Conrad creates some highly pleasing and nuanced forms as he moves through the air.
Rowland will have responsibility for revenue streams associated with the Ballet's performance activities and will provide leadership to the company's marketing, media relations, customer relationship, digital communications, box office and customer services functions.
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