Caniparoli’s “Tutto Eccetto Il Lavandino” (everything but the kitchen sink) opens mid action, with spry unison work to match the buoyant Vivaldi score. His women are in pointe shoes and kicky tennis dresses designed by Sandra Woodall in a charcoal tweed more common to business attire. Woodall dresses the men in pleasing shades of lime. There’s plenty of energy as the ensemble delivers cheerful heel taps, elbow flaps, high steps. The ballerinas spend considerable time flat footed so that when they suddenly rise up to pointe, it has the effect of an exclamation mark. “Tutto” has its charms, particularly when it opens up to four different pas de deux spotlights, but eventually the pace wears thin and the constantly shifting variations seem as scattered as the title suggests. It could easily have been half as long.

In contrast, Seiwert’s “Renaissance” delivers a sense of gravity. The set features three towering columns of twisting vines and the stage is cast in golden light (both by Brian Jones). Wearing ballet slippers, the dancers are a unified corps in tunics of filmy ivory chiffon by Kaori Higashiyama. Traditional Eastern European songs sung mostly a capella by Kitka Women’s Vocal Ensemble have a hypnotic effect. When Tess Lane enters dressed in dark tights and halter, all eyes move to her. Five men supplicate themselves, cradling her feet so they never touch the ground as she walks; then raise her overhead like a mermaid carved into the prow of a ship. The men form a stairway with their bodies and she climbs, shoulder by shoulder to dive from the top and be caught in waiting arms.