AMERICAN BALLET THEATRE devoted a fraction of its two-month spring season at the Metropolitan Opera House to short ballets and the rest to the 19th-century classics. A transcendent performance of Giselle, with Diana Vishneva, Marcelo Gomes, and Veronika Part, showed what miracles a great company can deliver. Of the season's new works, Alexei Ratmansky's Dumbarton had flickers of a 1972 Jerome Robbins work to the same Stravinsky score, Dumbarton Oaks. Ratmansky never strays from the ballet idiom, yet the feelings and incidents he instigates seem wholly contemporary. I felt there was more to this ballet than I absorbed in two viewings. Compact and brief, it seems to overflow with good fellowship.
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