There was cause for celebration. The program featured Nutmeg alumnae Victoria Mazzarelli, Cheryl Madeux, Karla Kovatch and Natasha Fielding, who have established careers with major ballet companies, plus guest artists Ethan Steifel of the American Ballet Theatre, Cynthia Quinn and Brian Simerson from Momix and Tim Melady from Hartford Ballet. Also appearing were recent Nutmeg students poised for professionalism.
There was particular excitement concerning the return of Torrington native Mazzarelli, the only American woman to win a gold medal in the New York International Competition.
As prima ballerina with the Basel, Frankfurt and Zurich Ballet Companies, she has achieved international fame. At the Nutmeg gala she appeared first in a contemporary work, the pas de deux from William Forsythe’s hard-edged, muscular “In the Middle . . . Somewhere Elevated” with Steifel.
Like a finely calibrated automaton, she performed Forsythe’s mechanized movements with astonishing precision and plasticity.
In Petipa’s pas de deux from “Le Corsair,” Mazzarelli and Steifel created another electrifying combination with their consummate mastery of 19th-century style and form.
With technical perfection (her expansive, elevated leaps were marvels of grace) and cheekbones that fashion photographers fight over, she ideally exemplified the wish of every ballet teacher.
Dancing like a young god, Steifel, with his breath-taking jumps and turns, also brought the cheering audience to its feet.
After touring nationally with the Joffrey Ballet, Madeux, another Torrington native, joined the Hartford Ballet, where she has won particular praise for her radiant “Giselle.”
Repeating the role’s Act Two pas de deux with Melady, she revealed anew the warmth, lyricism and technical brilliance that define her dancing. As always, Melady was a responsive partner whose solo revealed his individual artistry. From the Boston Ballet, Kovatch and Fielding offered contrasting performance styles.
In the beautiful “Rhapsody,” choreographed by Nutmeg alumnus Barry Hughson, Kovatch’s elegance and purity of line captivated. Tom Barber, her partner, complemented their duet with light- limbed agility.
Fielding, paired with Joshua Brooksher, disappointed, however, in “Diana & Acteon.” There was a heaviness in their movements that kept the pas de deux earthbound, despite their obvious technical proficiency.
Persuasively demonstrating their Nutmeg training — which is based on the Russian pedagogic method developed by Agrippina Vaganova — Kerryanne Saunders, who will join the Hartford Ballet this season, and Steven Erwin, who also belongs in a major company, danced the “Swan Lake” pas de deux with a refined sense of classical style that belied their youth.
Momix, the contemporary dance ensemble founded by Moses Pendleton, might seem a strange choice to share the Nutmeg gala, but they provided thrills. Quinn’s “White Widow” embodied the fusion between aesthetics and athletics.
From “Baseball,” Simerson performed the bravura “The Wind-Up,” usually Quinn’s solo, appearing like Olivier’s blond Hamlet deftly balancing an oversize baseball instead of Yorick’s skull.
Emily Patterson and Sam Beckman, both Nutmeg alumni, demonstrated how classical training can enhance contemporary dance in their sinuously beautiful solos from the Momix repertoire.