The evening's greatest delight was the premiere of Curran's rousing ''Pulcinella (A Post Modern Baroque Approach)." This charmingly playful piece is the choreographer's strongest work to date. There is a rich theatrical subtext, some boy-girl flirtation/jealousy/reconciliation, but it's the movement itself that carries the work. Curran plays off the courtly strains of the music but embellishes the gavottes and minuets with quirky gestures and vivid movement invention. Leaps and turns full of balletic lyricism are subverted by a little street jive here, a little kick-stomping, torso-pumping African dance there.
It's totally engaging, and the young dancers for whom the work was created embrace it with energy and pizazz. Emiko Tokunaga's costumes, fantastical black and white multi-paneled skirts and pants trimmed with red, were dynamite.
At the other end of the spectrum was ''Les Sylphides." One of the world's most popular ballets, Fokine's 1909 abstract work is the epitome of Romantic grace and refinement, and the young dancers had a real feel for the classical line, elegant demeanor, and timing that are critical to pulling it off. Conservatory faculty Leslie Woodies and Denise Pons, both former Boston Ballet soloists, impeccably prepared the corps, from large ensemble patterning to the smallest details of hands and head.
Soloist Elizabeth Alexander was especially notable in the Mazurka, with exquisitely controlled extensions and balances as well as lovely length and suspension in her leaps.
Luis Fuente's new ''Con Temperamento" is another terrific vehicle for the students. This abstract neo-classical ballet for 15 is set to the first movement of Beethoven's heroic ''Emperor" Concerto (given a sparkling performance by pianist Steven Kim, who graduated from the conservatory last year). It's a busy blur of entrances and exits that sends the dancers flying across stage in vivid leaps, swirling turns, and soaring partnered lifts. The longtime faculty member clearly knows what his dancers can do and exploits their skills to the fullest. Min-Tzu Li was sprightly and articulate as the work's soloist. The men stood out as well, but not always to best advantage, tending to hot-dog flamboyant moves at the expense of ensemble cohesion. But individually, there's tremendous potential looking for a chance to shine.
