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The evening commenced with the company’s premier performance of the tango-inspired Piazzolla Caldera, one of the greatest hits of choreographer Paul Taylor. Conceived in 1997, the piece was named after Ástor Piazzolla or “the Great Astor” (1921-1992) – the most influential tango composer of his day. Piazzolla reinvented and modernized Argentine tango with elements of jazz and classical music, creating a distinctly new rhythmic style, nuevo tango.

Piazzolla Caldera evokes the mysterious and seductive spirit of tango, accentuating its melodrama, passion and nostalgia. Taylor’s choreography imaginatively alludes the tango aesthetic without the traditional tango steps.

The subtle golden-red lighting effects designed by Jennifer Tipton transform the stage into a smoky milonga (Argentine dance club) where seven men and five women lose themselves in a soulful and expressive dance, outfitted by Santo Loquasto in stylish costumes with emphasis on black. As such, Piazzolla Caldera is an alluring spectacle in which human interaction and experience become the prime focus.
 

It was wonderful to see dancers of the Washington Ballet passionately embrace the challenge of high-spirited performance. A captivating duet of Sona Kharatian and Luis Torres showcased the masculine-feminine dynamic with its emotional ups and downs. The outstanding Kharatian charmed the audience with her elegant and enticing dancing, while Torres’ character, an embodiment of machismo, was suitably powerful and dominant. Morgan Rose shone in her melancholic solitary dance. Jason Hartley and Jonathan Jordan gave an amusing portrayal of tipsy seniors, who while trying to keep their balance, engage in a series of highly entertaining yet technically difficult wrestling and acrobatic numbers. Piazzolla Caldera turned out to be the strongest dance of the evening—clearly the favorite among the audience.

After the intermission, the company delivered a stirring performance of Na Floresta (In the Forest), the last part of Nacho Duato’s trilogy dedicated to the beauty of the Amazonian rain forest. Duato drew inspiration for this project from the riveting score “A Floresta do Amazonas” of the Brazilian composer, Heitor Villa-Lobos. This dance is equally tranquil and uplifting. The movement palette, notable for its symbolism, incorporates both folkloric and modern elements.

Juanita y Alicia, created in 1999 by Washington Ballet artistic director Septime Webre, concluded the evening. “Inspired by my childhood, this work invokes the feeling of a living family album, drawing from my mother’s stories…,” relates the choreographer. The dancers impressively handled Webre’s signature high-speed choreography, saturated with endless pirouettes and numerous leaps. A large backdrop – sepia-toned photography depicting parents and their six children – decorated the stage. The live music and singing poignantly performed by the Washington-based salsa band, Sin Miedo, brought a special charm to this production.