Thrill of Contact: Boston Ballet season closes with diverse delights

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Cirio, following his solo tour de force in Themes, debuts his choreography in the expressionist fremd, set to music by Aphex Twin, John Field, Chopin, and Olaf Bender’s spoken-word. Well acted and extremely interpretive, Altan Dugaraa teases the main couple (Lia Cirio, Paulo Arrais) with slick, precise movements; the dancers slide onto the stage as if thrust from the void. In his piece, Cirio explains that fremd explores the “foreign, alien, strange, or different” as well as “music, movement, silent intensity and the reality that less is sometimes more.” And less is sometimes more in fremd: minimalist, yoga-inspired costumes; three entangled bodies that translate to a larger force at play. Yet the richest moment comes at the start of the work as Cirio and Arrais dance to Chopin’s piano before the cold and jarring words of Olaf Bender shifts the mood and atmosphere of viewer and dancer alike.

After a pause, the curtain lifts to the flurry of intense movement in The Vertiginous Thrill of Exactitude. The work makes its first appearance at Boston Ballet with stunning classical dancing and a fast clip. The classical is also very geometrical, especially in the rigid planetary tutus adorning Kathleen Breen Combes, Erica Cornejo, and Misa Kuranaga. There are times that the costumes are a distraction during the piece, with the hard boiled, green-yellow yolkiness of the tutus and the red and purple velveteen leotards clashing together. Odd, charming, and as the title indicates, dizzying.

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