Boston Ballet’s ‘Winter Experience’: A Myriad of Elegance, Innovation, and Dynamism

The Boston Ballet’s “Winter Experience” runs from March 20 to 30 under the leadership of Executive Director Ming Min Hui, a 2015 graduate of Harvard Business School, and Artistic Director Mikko Nissinen. The year’s program features two masterpieces by George Balanchine — Tchaikovsky’s “Mozartiana” and “Symphony in Three Movements” — alongside Claudia Schreier’s “Slipstream” and Leonid Yakobson’s “Vestris.” A mesmerizing display of technical brilliance, emotional bursts, strength of dynamic, and stylistic diversity, the Winter Experience seamlessly blends neoclassical elegance with contemporary innovation.

The evening opens with “Mozartiana,” a neoclassical work set to Tchaikovsky’s “Suite No. 4, Op. 61,” choreographed by Saint Petersburg-born George Balanchine — one of the most prolific choreographers in the modern age and a pivotal figure in the foundation of Boston Ballet. The piece features a quartet of young dancers in black dresses, with Principal Dancer Ji Young Chae commanding the center. Against a serene blue backdrop, the choreography radiates ethereal grace. As the music shifts from tranquil to playful and exuberant, the dancers execute precise pointe work and chaîné and piqué turns, seamlessly transitioning between intricate quartet and duet sequences. While visually captivating, “Mozartiana” sometimes felt more subdued, especially in comparison to the evening’s later, more dynamic works.

In contrast, the innovative and distinctive “Slipstream” captivates the viewer with its fusion of contemporary techniques. Choreographed by Claudia Schreier ’08, this work features 18 dancers clad in blue-green leotards. This piece celebrates the beauty of lines, with duets between Chae and Chrystyn Fentroy demonstrating their high technical prowess. The music carries a magical tinge, enhancing the fluidity of movement. High lifts and intricate pairings symbolize a woman’s journey through frustration and despair, underscored by a haunting solo violin played by concertmaster Christine Vitale. The piece culminates in a revelation: dancers stretched skyward forming a bridge-like structure that embodies resilience, perseverance, and transcendence.

Derek Dunn’s solo in “Vestris” is a standout performance. Wearing a white Baroque coat, white tights, and a wig, Dunn embodies a comically narcissistic mime and mercurial character with an exaggerated manner that evokes laughter while also hinting at deeper vulnerability. “Vestris,” choreographed by Leonid Yakobson, a Soviet-era choreographer known for defying government restrictions on classical ballet, is a masterpiece in theatricality. Dunn’s expressive performance, set against a grey background that emphasizes his commanding presence, is a highlight of the evening and offers a more lighthearted moment.

The energy surges with the “Symphony in Three Movements” set to Stravinsky’s dramatic score. Dancers clad in pristine white costumes move with precision, as Lisa Hennessy’s eerie flute performance and the dynamic percussion of Richard Flanagan and Nancy Smith heighten the tension. The piece features three striking duets, the most compelling of which is between Boston Ballet Principal Dancers Lia Cirio and Paul Craig. Cirio exudes confidence, her sharp extensions slicing through the music’s tension. The lightning effects cast an ethereal glow, transforming the ensemble into otherworldly figures. Dancers mirror each other in hypnotic synchrony, their movements experimental yet controlled. As the music builds to a climax, the ensemble — hair mostly in ponytails — contrasts against Circio’s singular bun, subtly underscoring her role as the focal point. The piece ends with a grand, unified formation against a blue backdrop that is underscored by urgent piano, leaving a lasting impression of unity and motion. The piece not only has challenging techniques, but also complex dynamism between the dancers, displaying a full emotional experience.

Boston Ballet’s “Winter Experience” is a testament to their versatility, seamlessly transitioning from classical refinement to bold contemporary storytelling. It is more than just a display of technical prowess, also a journey of the characters and the dancers themselves. From Balanchine’s luminous neoclassicism in “Mozartiana” to the emotive storytelling of “Slipstream,” the theatrical wit of “Vestris,” and the thrilling finale of “Symphony in Three Movements,” the energy leaves a lingering resonance. While some moments risk slight pacing lulls, the program’s technical mastery and emotional resonance are consistent throughout the evening of performance. The cohesion of the pieces not only showcases their diversity, but also highlights a larger narrative of movement as expression and tradition as reinvention.

Boston Ballet’s “Winter Experience” runs at Citizens Opera House through March 30.

—Staff writer Dailan Xu can be reached at dailan.xu@thecrimson.com. Follow her on X @Dailansusie.