With Gabriel Fauré’s music as their accompaniment, Misa Kuranaga donning a crown that mimics the gilded ceiling-hung ornament and partner Angelo Greco open Emeralds flanked by a corps of ten women in vibrant verdant tutus of the romantic era.
Throughout this section, the mood is often tranquil, almost a reserved elegance with clean classical choreography, but there are a couple of perceived glimpses of tension that momentarily disrupt the flow. Yet they give way almost immediately to radiant faces – perhaps even more smiley than is characteristic of Emeralds; maybe these instances are reflections of the state of nerves and joy the dancers must be experiencing during this time of inconsistency in their typically rhythmic schedules.
Expression is achieved mostly by supple upper backs and the port de bras, most iconically in the solo originally created for the revered Violette Verdy. Kuranaga is light and fresh, a sure presence with meticulous attention to detail.
Also standout is a lively pas de trois danced by Wona Park, Julia Rowe, and Esteban Hernandez, all three adorning contagious smiles while singing the music with their bodies. They move beautifully as one while in trio and also have a chance to shine in each of their short solos.