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Boston Ballet kicked off its spring 2020 season on Feb. 27 with a triple bill of contemporary ballet works by choreographers who, according to Boston Ballet, “epitomize the ever-evolving tradition of dance.” Following the chronological order of their contributions, “rEVOLUTION” features the ever impressive Balanchine’s “Agon” followed by Balanchine’s successor Jerome Robbins’ “Glass Pieces,” and finished off by William Forsythe’s “In the Middle, Somewhat Elevated.” The works show off the incredible virtuosity of Boston Ballet’s dancers who, in turn, perfectly capture the revolutionary excitement of these contemporary works.

No program about contemporary ballet would be complete without “Agon,” the quintessential contemporary ballet by the man known as the “father of American ballet.” Boston Ballet treats the classic with due reverence, setting it with its original simplicity — dancers costumed in students’ attire against a solid blue background. This sparsity allows all the focus to be on the demanding technique of the choreography, which the dancers executed with precision and tireless athleticism. Principal Lia Cirio’s incredible flexibility and captivating artistry shine in the pas de deux, as she and her partner Paulo Arrais develop the narrative as well as their relationship with the audience. “Agon” is a ballet that embodies the Picasso quote, “Learn the rules like a pro so you can break them like an artist.” Its intense technique pushes the limits of classical movements and shows the dancers to be the professionals that they are: Experts with the deep understanding of the art necessary to have fun with technique.

After the simplicity of “Agon,” the company offers the complexity of “Glass Pieces”’s defining stained glass jewel tones — again executed to perfection on the Boston Opera House stage. The grid background and colorful costumes customary for the piece are all there, and the dancers perform the chaotic but fun, metropolitan-inspired choreography with grace and poise. The most impressive part of “Glass Pieces,” however, is the strength of Boston Ballet’s male dancers. Tight, controlled jumps and formations showcase their power and technical prowess in the work’s large all male ensemble. The pas de deux is performed with fluid movement quality by second soloist Addie Tapp and principal Patrick Yocum. Tapp’s long limbs unfold across the stage in gorgeous extensions and lifts.

The effect of the busy, endless movement along with the ebb and flow of the dancers onstage is also elevated by the flawless synchronization of the performers. No one misses a beat, even as corps dancers incrementally bob across the stage to the underlying rhythm while the principals move to the stronger, mournful melody. The dancers successfully capture the energy and vitality of the urban environments that this choreography was designed to highlight.

“In the Middle, Somewhat Elevated” closes out the show on a high note with its unmatched intensity. The industrial sounding music startles when it crashes open, setting the tone for the rest of the piece. The intense, hard hitting movements are sharply executed by the dancers with impressive stamina as they maintain a high level of energy throughout the piece. Derek Dunn’s always deft footwork is at its best here with the furious petit allegro. The choreography is again exceedingly technical but the difficult turns and balances are performed with fantastic musicality. The dancers know the difficult music inside and out, perfectly hitting every crash and shriek. Principal Ji Young Chae displays remarkable control, holding her positions and filling out the music through each movement. She performs each heart-stopping pirouette without a wobble. This is Forsythe at its finest, no doubt credited in large part to Boston Ballet’s long partnership with the venerated choreographer, who was called onstage at the end of opening night.

“rEVOLUTION” highlights the strength of the company artists, showcasing their physicality with the demanding choreography of three of the most influential contemporary works of ballet. These pieces may now be part of the repertoire of American ballet, but this production truly elevates the works so they are no less revolutionary than when they were created.

— Staff writer Sara Komatsu can be reached at sara.komatsu@thecrimson.com.