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MUSIC

Pa. Ballet Offers Surprises

By Maggie Davis

It would not be at all surprising
to learn that certain members of
the audience were disappointed in
Monday night's performance of the
Pennsylvania Ballet. Instead of the
traditional classical numbers which
many in the audience expected, the
company's selection of works was a
definite manifestation of the
merger of the classical and the
modern schools of dance. This
initial disappointment must have
been short-lived once the program
was well underway, as the
company's performance was
refreshingly enjoyable in its
novelty.

The first number, Ballade, was a
very romantic, traditional piece,
well chosen for the opening.
Although not the strongest part of
the program, the piece had a very
charming fluidity of movement,
music and costume, and gave the
company the warm-up that they
needed for the remainder of the
program.

Fugitive Visions, the second
ballet, was an excellent example of
the combination of styles of the
classical and the modern. Gone
were the formal and stylized
movements of the classical. For the
most part, the movements were
sensual, with the entire body of the
dancer utilized to give expressive
content to the dance. The dancing
en pointe did not conflict with this
freedom of movement, but blended
nicely. The sensuality was further
endorsed by the effects of
costuming and the pulsating
lighting effects. Even further was
the effect of the female dancers
"letting down their hair" and the
final ground embrace that left one
with the impression that the
company's modern leanings also
include sensitivity training.

Surely the most engrossing and
startling number was the last one,
Vibration. There was no doubting
that the choreography was
definitely that of Peter Gennaro,
with the main emphasis on the
movements of the hips, derriere,
and head, and definitely more
spectacular than Mr. Gennaro's
appearances on The Ed Sullivan
Show. One saw a constantly
changing kaleidoscope of color in
the many vibrant costumes. The
dancers' movements were repetitive
throughout the piece, as was the
music. The humor of the piece was
done well and effectively sustained.
The number was certainly
delightful and showed the fine
versatility of the company,
particularly of the principle dancers
of the piece, who gave very vibrant
and energetic performances. It is
also very interesting that this
number was substituted for the
traditional Pas De Dix. It is not
surprising in the context of the
entire program, and having seen the
company perform the Pas De Dix
last year, I found the new number a
refreshing and justified addition.

The company's performance was
exciting and vibrant in its novelty,
and reaffirms the Pennsylvania
Ballet's fine reputation among the
newer companies. They have
developed immensely since their
tour last year and their particular
combination of styles is much more
effective and refreshing than that of
the Harkness Company.