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REVIEW: Mikko Nissinen’s ‘Swan Lake’ returns in riveting and enchanting splendor

Posted on June 4 by The Sleepless Critic

Mikko Nissinen’s Swan Lake will enchant you from the start.

Swan Lake has stood the test of time for generations and it is no mystery why. Seeped in regal splendor, Swan Lake is a visually-striking portrait of elegance and grandiosity similar to another one of Tchaikovsky’s classics, The Nutcracker. Both known for their iconic scores, mystical elements, and magnificent presentation, but Swan Lake’s sophisticated splendor, dark charm, intricate choreography and mirror image story of true love sets it apart from the rest. Like The Nutcracker, Swan Lake has a universal appeal and memorable qualities that even those who don’t care for ballet will still enjoy Swan Lake.

Boston Ballet in Mikko Nissinen’s Swan Lake; photo by Rosalie O’Connor, courtesy of Boston Ballet

With seamless musical-direction by Mischa Santora, Tchaikovsky’s majestic score navigates a classic tale of love, torment, betrayal, magic, and unbridled joy as Boston Ballet rises out of Mikko Nissinen’s Swan Lake continuing live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, June 5. Swan Lake will then stream from the comfort of your home from June 9 through June 19. Performed in memory of John W. Humphrey, Swan Lake has returned to the Boston Opera House for the first time since Mikko Nissinen re-imagined the ballet in 2016. This four-act performance has one intermission. Click here for more information and tickets.

Taking a mysterious and thrilling tone from the start, Swan Lake is a fanciful tale involving sought-after Prince Siegfried, portrayed with zest and charm by Patrick Yocum, who sets his sights on a flock of swans drifting over a misty and enchanted lake. Swan Queen Odette, portrayed with graceful fragility by Lia Cirio, catches his eye and it is love at first sight. It soon becomes clear that the swans were once women cursed by sorcerer Von Rothbart, depicted menacingly by Tyson Clark. Tyson Clark as Rothbart is an incredible and unpredictable force as he athletically and perilously tears through the mist as Prince Siegfried vows to set Odette free.

Golden-braided, ornate headpieces, flowing pastel garments, parasols, garlands, exquisitely feathered tutus and pristine crowns are just a glimpse into Robert Perdziola’s opulent and meticulously-detailed, handmade costumes that enrich the lush and picturesque royal garden setting as well as the haunting mirror image and mystical lake bathed in luminous blue moonlight by lighting designer Mark Stanley.

Marked by such precision, Mikko Nissinen’s choreography is ballet at its finest. Emily Entingh and Sage Humphries are visually-stunning rising gracefully and beautifully fluttering out of the mist. A gathering of cygnets demonstrate perfect synchronicity as they glide in lithe, delicate strokes. The swans are ethereal and immaculate as they simultaneously rise exquisitely out of a swallowing mist. It still stands as one of the beautiful displays of ballet I have ever seen.

Boston Ballet in Mikko Nissinen’s Swan Lake; photo by Gene Schiavone, courtesy of Boston Ballet

In the castle gardens, dancers whimsically join together in a feast dance with goblets and joyfully present the prince with rich garlands. While the castle garden depicts almost a dreamlike setting, an equally opulent ballroom with vast ceilings lit in red later depict a livelier setting as a grand and dynamic lineup of guests gather to charm the kingdom including princesses, czardas, and Neapolitans.

Patrick Yocum is impressive as Prince Siegfried as he evokes loneliness and melancholy in an emotive and carefully-executed variation and then later in a flawless and joyful dance as if floating across the stage. Light and dark in Tchaikovsky’s Swan Lake is demonstrated impeccably in Lia Cirio in a complex, dual role. As guarded Odette, her every move diligent and yet her statuesque beauty and downcast demeanor enrich her mysterious and powerful presence. Tingling violin resonates in Tchaikovsky’s emotive score as Cirio and Yocum share a hesitant and sweet encounter. He tenderly lifts and comforts her at every turn. Cirio can craftily engage an audience and masters her dual role as mysterious and confident Odile. That striking look she gives reminded me of the fire she brought to her 2020 performance in Boston Ballet’s Carmen. Cirio’s cunning smile and playful charisma gleam as Yocum takes her hand playfully and yet, almost possessively in a spellbinding and exhilarating dance.

Swan Lake is such a haunting and beloved tale of tender grace and arduous passion that, like The Nutcracker, it has been adapted in various forms for stage and screen over the years including Darren Aronofsky’s Academy award-winning Black Swan. Mikko Nissinen has adjusted a few scenarios in Swan Lake since its re-imagining in 2016, but only for its betterment to create an even more thrilling, illuminative and memorable experience.

Mikko Nissenen’s Swan Lake continues live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, June 5. Swan Lake will then stream from the comfort of your home from June 9 through June 19. Click here for more information and tickets.

REVIEW: Boston Ballet’s elegant and edgy ‘DREAMstate’ a fascinating departure from reality

Posted on March 26, 2022 by The Sleepless Critic

From classically fanciful to electrifying to distinctive, unconventional artistry, the Boston Ballet’s DREAMstate is an astute exploration of the delicate nature of dreams and a fascinating escape from reality. Aside from Boston Ballet’s traditional Nutcracker in December, Mikko Nissinen’s DREAMstate is the first live and in person return to Boston Ballet’s regular season since the pandemic. Excitement was in the air and the Boston Opera House was full.

Boston Ballet in George Balanchine’s Chaconne © The George Balanchine Trust; photo by Liza Voll; courtesy of Boston Balle

Boston Ballet’s DREAMstate continues through Sunday, March 27 at live and in person at the Citizen’s Bank Opera House in Boston, MA. The show is approximately two hours with two intermissions and the final piece contains partial nudity. Click here for more information and tickets.

Rolling Stones tribute DEVIL’s/eye Photo credit to Boston Ballet

Though all three Boston Ballet pieces had its highlights, the stellar world premiere of Boston Ballet’s tribute to the Rolling Stones, DEVIL’S/eye was the most uniquely compelling. Weaving in live concert elements and classic hits such as Can’t You Hear Me Knocking, Paint it Black and much more, dancers take the stage in shadow bathed in purple, red, yellow, pink, and blue glimmering from an incredible, multi-functional sound system lit by Brandon Stirling Baker. With exhilarating choreography and edgy and exotic costume design both by Stephen Galloway, lively dancers in silk, sequins, fishnets and windswept hair complete the full glamour of a rock and roll concert showing off thrilling, contemporary freestyle moves. The entire performance is an electrifying spectacle as dancers let loose to the Stones concert footage with epic alicicone spins, but a brief pause in the guitar-tinged, horn-infused rhythms showing off each dancer’s glowing silhouette cannot be properly conveyed here and those sensational moments are best witnessed in person.

George Balanchine’s Chaconne brings to life a regal and fanciful daydream to the heavenly sounds of the Christoph Willibald von Gluck opera, Orfeo ed Euridice. Elegantly adorned in a flowing and ethereal skirt and crown by Barbara Karinska in front of tranquil green blue backdrop, the always fresh-faced and charming Viktorina Kapitonova performed a beautiful and romantic pas de deux with Lasha Khozashvili, dressed in white. Khozashvili lifts and leads Kapitonova delicately as they sporadically intertwine. The piece is primarily playful as dancers bow and sway in gleaming, royal costumes as they float along this lighthearted daydream, the flutter of slippers sweeping across the stage.

Misa Kuranaga and Patrick Yocum in George Balanchine’s Chaconne © The George Balanchine Trust; photo by Liza Voll; courtesy of Boston Ballet

The final piece is probably one of the most unconventional performances the Sleepless Critic has ever witnessed with the Boston Ballet because after a brief intermission, the piece begins before the music starts and dancers are already in motion as the rehearsal blurs into the performance.

Altan Dugaraa, Sarah Wroth, Yury Yanowsky in Jiří Kylián’s Bella Figura; photo by Gene Schiavone, courtesy of Boston Ballet

Jiri Kylian’s Bella Figura, a fan favorite, often departs from reality and the structure of how a performance would normally flow. In many ways, it bucks tradition as the dancers float and slide between closing curtains as Seo Hye Han, topless, wraps herself in only a black stage curtain. Bella Figura has some captivating choreographed indignation and intensity as Ji Young Chae struggles not to be held or controlled by Paul Craig, shaking Craig away. Bella Figura seems an abstract piece with haunting and mysterious elements as female dancers are manipulated in sharp, robotic movements. It seems Bella Figura represents the vision of a perfect female specimen as women bend under the intensity and pressure to be perfect. In gathering rich red skirts, men and women, all topless and all looking the same, glide along the stage. It is a memorable, distinctive performance as the piece continues even as the music concludes.

Boston Ballet’s DREAMstate continues through Sunday, March 27 at live and in person at the Citizen’s Bank Boston Opera House. Click here for more information and tickets.

REVIEW: Mikko Nissinen’s ‘The Nutcracker’ remains a visually-stunning journey for all ages

Posted on December 22, 2019 by The Sleepless Critic

With enchanting special effects and performances that would endear any holiday pessimist, Mikko Nissinen’s The Nutcracker once again returns with an entire world seeped in the fondest of daydreams for adults and children alike. With the enhancement of internationally-renowned Finnish lighting designer Mikki Kunttu and Tchaikovsky’s classic score conducted by Misha Santora, The Nutcracker is as picturesque as ever, emphasizing its mark as an annual holiday institution.

Boston Ballet The Nutcracker cast Photo by Liza Voll

The 150 dancers making up ‘The Nutcracker’s’ spectacular cast. Photo credit to Liza Voll/Boston Ballet

The castle on a cloud is only the prelude to an enchanting journey as Mikko Nissinen’s The Nutcracker returns to the Citizens Bank Opera House with new surprises. An elegant party, a valiant battle, and a variety of spectacular toys springing to life is just part of Clara’s exquisite journey when she is gifted an intriguing Nutcracker for Christmas.

The Boston Ballet takes the stage for Mikko Nissinen’s The Nutcracker continuing through Sunday, December 29. The Boston Ballet features discount youth pricing. Click here for more information and for tickets.

Stage view Photo courtesy of Jeanne Denizard

Robert Perdziola’s meticulously-detailed set and costume design not only create an inviting atmosphere whether inside a fire lit, multi-dimensional living room with a towering, emerald-lit Christmas tree or surrounding an outdoor fire pit where locals can keep warm, but also creates a pristine wintry wonderland where you can almost feel the chill. The ornate period costumes are gorgeous as women are adorned in velvet, silk, and ribbons and the men are dressed to the nines. Sweet, sophisticated, yet playful Clara, portrayed impressively by Emma Blake, is lovely in her pale blue coat, bonnet hat, and fur hand warmers.

Boston Ballet The Nutcracker Party Scene by Liza Voll

Party scene. Photo credit to Liza Voll/Boston Ballet

Christmas Eve is a magical time, especially for children. Paulo Arrais unveils some of that magic as charismatic and confident showman, Drosselmeier. Mustachioed Arrais is a grand presence as he delivers visions sprung from the imagination, showing children anything is possible.

Boston Ballet Nutcracker Ricardo Santos and Ji Young Chae by Rosalie O Connor

Harlequin Doll and Ballerina Doll. Photo credit to Rosalie O’Connor/Boston Ballet

Among the most memorable moments is a Soo-bin Lee’s convincing portrayal as a Ballerina Doll, her rigid movements out of the box a fascinating sight. Tyson Clark’s Harlequin Doll and Sun Woo Lee’s life size, exotic bear are exuberant, playful, and among the most highly- anticipated scenes in this production.

The appearance of the Nutcracker Prince, depicted by a chivalrous and gallant Derek Dunn, is extraordinary surrounded by bright, multicolored, shimmering ornaments in a magnificent tree. His appearance highlights one of the most spectacular and exciting special effects of the production that will not be revealed here. His encounter with Alec Roberts’s bold and at times humorous Mouse King is thrilling and partially what makes The Nutcracker a children’s classic.

Boston Ballet 'The Nutcracker' Mouse King and Wooden Soldiers by Liza Voll

Alec Roberts as the Mouse King and a valiant battle Photo credit to Liza Voll/Boston Ballet

Seo Hye Han and Tigran Mkrtchyan are visions as The Snow Queen and King on a sparkling silver sleigh as surrounding dancers joyfully flock and frolic in a glorious scene. Seo Hye Han and Tigran Mikrtchyan have a sweet chemistry as they join together in a captivating dance.

Boston Ballet The Nutcracker Snow fairies by Liza Voll

An enchanted winter wonderland. Photo credit to Liza Voll/Boston Ballet

Under glimmering chandeliers is a group of remarkable, electric performances which is less story progression and more showcase driven presented by the iconic and sparkling Sugar Plum Fairy, portrayed with finesse by Chisako Oga. Two pairs of Spanish dancers portrayed by Ekaterine Chubinidze, Haley Schwan, Daniel Cooper, and Benji Pearson, sway and twirl in a dazzling spectacle. Chyrstyn Fentroy and Paul Craig receive a rousing applause as a pair of exotic and athletic Arabian dancers while Desean Taber, Daniel Durrett, and Fuze Sun show off their flexibility and athletic prowess as a trio of leaping Russian dancers.

Among the most humorous scenes is an adorable appearance by Bo Peep accompanied by a mischievous black sheep and Graham Johns as towering and surprising Mother Ginger.

Boston Ballet The Nutcracker By Liza Voll

Clara, portrayed by Mia Steedle, Nutcracker Prince portrayed by Tigran Mkrtchyan, and reindeer by students of Boston Ballet School Photo credit to Liza Voll/Boston Ballet

Whether seeing Mikko Nissinen’s The Nutcracker for the first time or returning to enjoy it all over again, The Boston Ballet is as elegant and magical as you remember with enough refreshing additions to endure as a splendid holiday treat for the entire family.

The Boston Ballet takes the stage for Mikko Nissinen’s The Nutcracker continuing through Sunday, December 29 at the Citizen Bank Opera House, 539 Washington Street in Boston, Massachusetts. These performances feature group rates and discount youth pricing. Click here for tickets and for more information on Boston Ballet’s 2020 season.

REVIEW: Boston Ballet’s idyllic ‘Cinderella’ more than a glittering gown and glass slippers

Posted on May 27, 2019 by The Sleepless Critic

Be like Cinderella.

During Sir Frederick Ashton’s Cinderella, The Prince, portrayed masterfully by Patrick Yocum, gentlemanly gestures for Cinderella to go first as they make their entrance and she in turn motions for him to go first. It is a subtle gesture, but holds great significance. It is just one moment in many that this Cinderella exudes pure selflessness, more so than other adaptations. We can all learn from Cinderella. She’ll make a lasting impression and is a shining example of what every child should strive to become.

Sir Frederick Ashton’s Cinderella, performed by the Boston Ballet, continues through Saturday, June 8 at the Citizens Bank Boston Opera House. Click here for more information and for tickets. Click here for a closer look at the production.

The Boston Ballet’s Cinderella is an ethereal, lighthearted tale, told with a richness that far exceeds a glittering gown and glass slippers. David Walker’s multi-layered, translucent scenic design and elaborate costumes create moving portraits from deep into an enchanted forest to a sophisticated royal ball.

It is a classic fairy tale about a young girl living with her father and two ugly Stepsisters. When a mysterious woman shows up on their doorstep, it may change Cinderella’s life forever. This adaptation has the earmarks of the popular fairy tale including the pumpkin, the royal ball, fairy godmother, and the handsome prince.

Jeffrey Cirio and Misa Kuranaga in Ashton's Cinderella ©Gene Schiavone

Misa Kuranaga and Jeffrey Cirio in Sir Frederick Ashton’s Cinderella; photo by Gene Schiavone, courtesy of Boston Ballet

Sir Frederick Ashton’s Cinderella also contains a few slight alternations from other popular adaptations and it is all the better for it starting with Vikorina Kapitonova’s marvelous portrayal as Cinderella. Even in a soot-covered, flowing costume, Kapitonova’s glowing face shines through as she jaunts around the house, with only a broom as her companion. She soaks in her surroundings, her exuberance shown through the simplest of things. She puts joy in every step, rarely showing any despair in her strength, warmth, and innocent smile. Cinderella may be neglected, but she’s also happy and imaginative, despite her circumstances.

Absent is the anguish and vindictiveness Cinderella endured from the glaring presence of a Stepmother in other retellings, but instead a harried father tending to the constant needs of two trying Stepsisters. What makes this Cinderella so remarkable is she is not bullied by her Stepsisters, but that much more selfless, doing everything for the ease of others, always putting others first with a smile. She tends to her Stepsisters needs out of love, a self-absorbed pair of braying bookends, portrayed with awkward, conceited flair by Roddy Doble and John Lam. In full bonnets and mismatched, heavily adorned attire, the Stepsisters comically parade in their gaudy and audacious glory, unaware of how foolish they seem.

Sir Frederick Ashton’s Cinderella’s choreography is an elegant display. The Fairy Godmother makes a grand, magical entrance and is soon accompanied by the colorful Fairies of the Four Seasons. They each have their moment to shine, their beautiful solos reflecting their distinct personalities on lush green and then under silvery trees.

In white and blue, Patrick Yocum, who was also impressive in Boston Ballet’s Full on Forsythe, makes a wonderful Prince, leading Kapitonova to a delicate pas de deux. Their sweet chemistry is apparent as Cinderella makes her own grand entrance. Another captivating dance occurs at the ball as the clock strikes midnight, the dancers intricately posing in that pivotal moment knowing the best is soon to come.

One of the interactive stations at Boston Ballet’s ‘The Warm Up’ Photo by Jeanne Denizard

Mikko Nissinen’s Boston Ballet continues to offer a number of interactive stations including Fairy tale Fun and a photo-friendly display to learn more about the show and ballet through The Warm Up located in the lower lobby.

Sir Frederick Ashton’s Cinderella, performed by the Boston Ballet, continues through Saturday, June 8 at the Citizen’s Bank Boston Opera House, 539 Washington Street in Boston, Massachusetts. Save 50% for youth under 17 after purchasing one full price ticket. Click here for more information, tickets, and for future events and more, follow Boston Ballet on Facebook and Twitter.

Boston Ballet presents the North American debut of emotionally-charged ‘Obsidian Tear’

Posted on November 1, 2017 by The Sleepless Critic

In a season filled with extraordinary contemporary and classic performances, the Boston Ballet continues its 2017-18 season with the debut of Obsidian Tear. Choreographed by Wayne McGregor, The Boston Ballet takes on a gripping exploration of raw human emotion as Obsidian Tear makes its North American debut from Friday, November 3 through Sunday, November 12. Co-produced with the Royal Ballet, full of athletic grace, and inspired by poetry by Esa Pekka Salonen, Obsidian Tear depicts the powerful impact emotion makes on society, in all of its extremes. The second half of the show features the world premiere of Fifth Symphony of Jean Sibelius, choreographed by Jorma Elo.

RoyalBallet Artist CalvinRichardson_Wayne McGregor's Obsidian Tear

Royal Ballet Artist Calvin Richardson in Wayne McGregor’s Obsidian Tear; photo by Andrej Uspenski, courtesy The Royal Ballet

The Boston Ballet concludes 2017 with the triumphant return of Tchaikovsky’s beloved holiday classic, Mikko Nissinen’s The Nutcracker from Friday, November 24 through Sunday, December 31. Starting in March 2018, The Boston Ballet mixes the classic with the contemporary with Parts in Suite, combining the imagination of esteemed choreographers William Forsythe, Justin Peck, and Jorma Elo from Friday, March 9 through Saturday, April 7, 2018. Two crowd pleasing romantic classics take the stage with Romeo and Juliet from Thursday, March 15 through Sunday, April 8 and Sleeping Beauty from Friday, May 11 through Saturday, May 19. Explore beauty and the pursuit of everlasting love with Classic Balanchine from Thursday, May 17 through Saturday, June 9 and La Sylphide from Thursday, May 24 through Sunday, June 10.

Royal Ballet Artist Calvin Richardson in Wayne McGregor’s Obsidian Tear; photo by Andrej Uspenski, courtesy The Royal Ballet

Royal Ballet Principal Dancer Edward Watson and Soloist Eric Underwood in Wayne McGregor’s Obsidian Tear; photo by Andrej Uspenski, courtesy The Royal Ballet

Royal Ballet Soloist Matthew Ball in Wayne McGregor’s Obsidian Tear; photo by Andrej Uspenski, courtesy The Royal Ballet

Click here for tickets, call 617-695-6955, or visit the Boston Ballet box office at 19 Clarendon Street in Boston, Massachusetts. All performances are held at the Boston Opera House, 539 Washington Street in Boston, Massachusetts. Subscriptions and group rates are also available. Follow the Boston Ballet on Facebook and Twitter.

REVIEW: Boston Ballet presents William Forsythe’s brilliantly compelling ‘Artifact’

Posted on March 2, 2017 by The Sleepless Critic

World-renowned choreographer William Forsythe, dressed in a baseball cap and modest attire, addressed an eager, mesmerized audience in a post-show talk with Boston Ballet’s acclaimed Artistic Director Mikko Nissinen after the evening performance of William Forsythe’s Artifact on Saturday, March 25. Mikko Nissinen introduced Forsythe with enthusiasm and said that working with him has been a lifelong dream fulfilled. William Forsythe and Boston Ballet’s Artistic Director Mikko Nissinen have a five-year partnership, working together to establish each season’s performances, highlighting one of Forsythe’s exceptional works each year.

The Boston Ballet Photo courtesy of Rosalie O’Connor/Boston Ballet

Friendly and unassuming, Forsythe spoke about his beautifully-unconventional production, Artifact, a piece he created over 30 years ago and a work that audiences and critics alike have embraced ever since. Veiled on the Boston Opera House stage and enhanced with minimal props, lies a complex, timeless, and thought-provoking masterpiece which makes a powerful statement on the essence of the art of ballet. Shown in its full length, Forsythe revised Artifact’s finale specifically for the Boston Ballet, which is a thrilling, compelling spectacle that blends classical and contemporary dance in a unique way.

Boston Ballet presents ‘Artifact’ Photo courtesy of Rosalie O’Connor/Boston Ballet

Boston Ballet presents William Forsythe’s Artifact through Sunday, March 5 at the Boston Opera House. Click here for tickets, call 617-695-6955, or visit the Boston Ballet box office at 19 Clarendon Street in Boston, Massachusetts. Take a closer look at William Forsythe’s Artifact here.

Blending humor, philosophy, drama, and a wide range of traditional and contemporary ballet, William Forsythe’s Artifact, since the show was introduced, set a significant precedent in the inspiring works that followed. A production packed with a wide range of welcome surprises, each distinct character offers their own insight into this mysterious tale. Featuring a shimmering backdrop that matched the majestic, glittering black gown worn by Dana Caspersen, a statuesque woman in grey portrayed by Caralin Curcio, and a dapper, yet frustrated older man with megaphone portrayed by Nicholas Champion, Artifact is an intensely fascinating work from its start.

Raina Sawai as Woman in Gray and Nicholas Champion as Man with Megaphone

Caspersen’s performance is full of jubilance and inquisitiveness from the moment she welcomed the audience with a peerless smile. Curcio delivers a haunting, athletic, and captivating non-verbal performance, her movements sharp, poised, and vigorous while she appears in unexpected places. Dignified and authoritative, Champion’s dynamic performance boasts comedic moments, especially in his interaction with Caspersen. While Champion’s musings are incomprehensible and muffled, Caspersen’s seem philosophical and poetic.

Artifact, divided into four parts like a symphony, features piano by Margot Kazimirska and delves into a full range of emotions as the piano seems to have a mind of its own, often breaking convention. The music, featuring J.S. Boch: Chaconne from Partita Nr. 2 BWV 1004 in D-Minor by Nathan Milstein, Sound Collage by William Forsythe, and music from composer and pianist Eva Crossman-Hecht, progresses from playful to somber then frantic to rhythmic.

Sao Hye Han and Paul Craig in William Forsythe’s ‘Artifact’ Photo courtesy of Rosalie O’Connor

Dressed in rich, vibrant color and launching into choreography ranging from romantic and sweeping to freestyle to stiff and regimented, the Boston Ballet often break convention under the direction of Curcio. A few of the highlights are ballet dancers breaking away into romantic, sweeping duets as they spin, sway, and soar. With a verbal countdown, they perform intrinsic dance combinations such as a row of dancers drop to the floor in unison, embracing. Another thrilling highlight is the ballet directs the curtain to lift and close, creating snapshots of various, choreographed scenes. As Artifact culminates into an unpredictable, uplifting, and magnificent finale, unified dancers are as mesmerizing as the dancers breaking away into frantic, dynamic arrangements, performing pirouettes to a wild rhythm, blossoming into a new entity.

Seo Hye Han and the Boston Ballet in ‘Artifact’ Photo courtesy of Rosalie O’Connor/Boston Ballet

Click here for tickets, call 617-695-6955, or visit the Boston Ballet box office at 19 Clarendon Street in Boston, Massachusetts. Subscriptions and group rates are also available. Follow the Boston Ballet on Twitter.

The Boston Ballet’s 2017-18 season boasts masterful works such as Kylian/Wings of Wax from March 23 through April 2, Robbins/The Concert from May 5 through May 27, Obsidian Tear from November 3 through November 12, and the return of Tchaikovsky’s beloved holiday classic, Mikko Nissinen’s The Nutcracker from November 24 through December 31, 2017. Click here for a closer look at all of Boston Ballet’s 2017-18 season highlights.

The Boston Ballet presents William Forsythe’s thrilling ‘Artifact,’ part of their 2017-18 season

Posted on February 20, 2017 by The Sleepless Critic

On Thursday, February 23, the Boston Ballet begins another magnificent spring season and simultaneously launches a five-year partnership with brilliant dancer and world-renowned choreographer, William Forsythe. As part of Forsythe’s five-year partnership, William Forsythe and Boston Ballet’s Artistic Director Mikko Nissinen work together to establish each season’s performances, highlighting one of Forsythe’s stunning works each year.

Choreographer William Forsythe and Misa Kuranaga in rehearsal for Artifact; photo by Liza Voll, courtesy of Boston Ballet

William Forsythe’s full length masterpiece, Artifact, a revelation in the art of dance and has thrilled audiences since its stage premiere in 1984. Artifact continues through Sunday, March 5 at the Boston Opera House, 539 Washington Street in Boston, Massachusetts. Click here for tickets, call 617-695-6955, or visit the Boston Ballet box office at 19 Clarendon Street in Boston, Massachusetts. Take a closer look at William Forsythe’s Artifact here.

The Boston Ballet boasts a monumental lineup for its 2017-18 season including timeless romantic classics such as Marius Petipa’s The Sleeping Beauty from April 28 to May 27, 2017 and John Cranko’s Romeo & Juliet from March 15 through April 8, 2018. This season is also filled with masterful works such as Kylian/Wings of Wax from March 23 through April 2, Robbins/The Concert from May 5 through May 27, Obsidian Tear from November 3 through November 12, and the return of Tchaikovsky’s beloved holiday classic, Mikko Nissinen’s The Nutcracker from November 24 through December 31, 2017. Click here for a closer look at all of Boston Ballet’s 2017-18 season highlights.