Review: Vail Dance Festival’s International Evenings of Dance feature spectacular artistry

Saturday night’s two International Evenings of Dance delivered a spectacular doubleheader, highlighting the country’s most accomplished artists.

The 5 p.m. International Evenings of Dance II particularly catered to ballet lovers, which make up a large segment of the Vail Dance Festival audience, as evidenced by their rousing appreciation of the form. Yet, both performances, especially the third installment at 8 p.m., included a stirring variety of styles.

Both performances opened with previews of Monday’s Closing Night Now: Premieres, which will feature all new works that emerged during the festival through collaborations among dancers from various companies. The 5 p.m. presentation showcased artist-in-residence Adji Cissoko interpreting her cousin’s kora playing as she oozed pure, heartfelt emotion for the instrument she grew up listening to her father play. The 8 p.m. opening work gave audiences a glimpse of the humorous and fun “Warm Up,” set to Donna Summer’s “On the Radio.” As Philip Duclos from the Royal Danish Ballet, KJ Takahashi from the New York City Ballet and scholar-in-residence Spencer Lenain embodied the disco music through their traditional ballet training, they playfully made it clear that the term “diva” need not apply to just women.

Quartet-in-residence Brooklyn Rider heightened both evening performances with their spirited live music; the uplifting music that swelled through the amphitheater brilliantly followed the recent close of Bravo! Vail. Watching the “dance” of the musicians perfectly complemented the choreography of the actual works, whether Robbie Fairchild and Devon Teuscher juxtaposed the quartet’s more formal attire with a stylish, casual look in “Furiant” or ballerinas graced the stage in full regalia.

Impeccable, traditional ballet filled the stage with several works at 5 p.m., including an excerpt from “Chaconne,” as Unity Phelan floated, seemingly weightless, and displayed complete control over technical skills, along with her partner Cory Stearns. Favorites like “Romeo and Juliet Ballet” and “The Nutcracker” were presented brilliantly, and it was a treat to see the latter holiday tradition set against the light and airy feel that the amphitheater’s wildflowers, evergreens and aspen provided in the background.

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Just as it did on Opening Night, “Single Eye” really stood out at 5 p.m., as Cissoko and Calvin Royal III stunningly performed their moody and flowing pas de deux, characterized by their stunning extensions and emotion. Theirs is a pairing that you just don’t want to see end. Likewise, Opening Night’s repeat of “Swan Lake” led to a gorgeous close to the 5 p.m. presentation.

The 8 p.m. presentation ran a bit longer than the 5 p.m. — about two hours, versus 90 minutes — and provided a different ambiance, simply through lighting as night settled in. Shadows danced as Tiler Peck and Stearns delivered a floating, delicate excerpt of “The Leaves Are Fading.”

Composer-in-residence Caroline Shaw lent not only her composition of “And So,” characterized, at times, by plucking strings, but also her soaring voice as three dancers from the New York City Ballet and Royal showcased their strength (and, for the men, bare chests) in a brilliant performance on all accounts.

Then came “The Swans.” Years ago, when Lil Buck debuted his Memphis-jookin-meets-ballet version of the classic in white sneakers, it was absolutely earth-shattering. With Saturday night’s addition of Cissoko, dressed in a classic tutu and dancing en pointe, it became all the more endearing — and humorous — raising a huge roar and standing ovation from the audience.

Of course, each work garnered, and deserved, a standing ovation from at least a significant portion, if not all, of the audience. Jeffrey Cirio and Isabella Boylston delivered a spectacular “Giselle,” and his labored breathing while resting on stage reminded audiences of the thin air and how truly challenging it is not only to perform such complex choreography throughout the evening, but also to do so in Vail. Similarly, a partner bobble during the concluding “Don Quixote” underscored the technical difficulty all of these works require. Both human moments reminded audiences of the mastery these dancers pull off flawlessly passage after passage, night after night.

Bass-baritone Davóne Tines’ powerful voice accompanied the lyrical and gorgeous world premiere, “Songs to the Dark Virgin.” Another world premiere, “The Very Thought of You,” featured Fairchild’s amazing crooning vocals and the exquisite glides of Ukrainian-born ballroom dance pair Denys Drozdyuk and Antonina Skobina.

Fairchild and Lauren Lovette’s “La Sonnambula” was another stand-out work of the evening. After candlelight floated down the hillside, Lovette took the stage, completely embracing the ghostly, almost doll-like sleepwalker. Barely ever coming down off her toe pointes, Lovette was absolutely mesmerizing as Fairchild portrayed his yearning for her through movement.

With so many superb works, Friday and Saturday evenings spoke clearly as to why this year required three International Evenings of Dance, rather than the historical two.