The four supporting couples provided an elegant backdrop.

Ji Young Chae made her pirouettes springing from deep fourth position look natural, her chaîné turns stopped on a dime, and she found a degree of adagio amid the allegro brilliance. Jeffrey Cirio was an attentive and accomplished partner, confident in his beats and jumps, but this is the lady’s show, not least in her dramatic and demanding solo cadenza.

Cirio balanced precision and poetry in a Terpsichore that was remarkable for her nuanced engagement with Apollo.īoston Ballet hadn’t presented “Allegro Brillante” here since 1992, and its return was welcome. Kapitonova was heroic and knowing, Fentroy playful and flirtatious. Lia Cirio (Terpsichore), Chyrstyn Fentroy (Polyhymnia), and Viktorina Kapitonova (Calliope) formed a well-matched trio of Muses with outstanding ensemble. Patrick Yocum began as a child and, full of wonder and amplitude, tentatively grew into the role of god. The tone was set Thursday by the Boston Ballet Orchestra’s sensitive reading of the score under music director Mischa Santora. Apollo, his curiosity piqued by the syncopated four-note motif Stravinsky has given him, passes on Muses Calliope (epic poetry and its rhythm) and Polyhymnia (mime) to partner with Terpsichore (the muse of dance and song, who surpasses what her sisters offered) before ascending to Mount Parnassus. Set to Igor Stravinsky’s “Apollon Musagète,” the piece depicts the birth of dance. Balanchine was just 24 when he created “Apollo,” in 1928, for Serge Diaghilev’s Ballets Russes, and it’s his earliest surviving ballet.

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