I attended Friday's performance. Here are some of my thoughts.
Mozartiana was danced very movingly by Sterling Hyltin who masterfully manages to exhibit a balance between an interior process and at the same time, a connection to her partner, Anthony Huxley. Anthony Huxley dances so cleanly and articulately, even simple steps were a delight. He really has wonderful line and pointed feet, and is such a light dancer, I thought that technically he really shone. Daniel Ulbricht as usual danced with precision and energy, the latter perhaps somewhat muted, which is what the role seems to call for. The four Ladies, Miller, Lafreniere, Nadon and Hod beamed throughout as if still celebrating their recent promotions (Miller especially has a megawatt smile). Isabella had a little trip up at one point when she slid a little, but otherwise danced with incredible confidence and energy.
In Rubies, the three leading roles were danced with enormous energy and clarity. Emily Kikta to me is a like a more refined Savannah Lowery: big energy and amplitude, but more graceful. I thought Megan Fairchild was quite unbelievable: especially when taking into account she is the mother of three! She danced with joy, clarity and speed and really seemed to enjoy herself - she is such a fine technician and makes it look easy. Her series of triple pirouettes with her hands flexed and arms bent were all done cleanly without any falling off pointe that the difficulty of this series can be hard to appreciate. Gonzales also seemed to be having fun and to be able to tackle the steps with ease.
In La Valse, I thought Sara Mearns and Jovani Furlan danced very well though perhaps their chemistry together still needs some time. Having read that this ballet was created to mark the end of the popularity/era of waltzing gave it a depth I hadn't experienced when I didn't know this context before. I thought Ashley Laracey really stood out for her grace which can be somewhat other worldly, a nice quality since so much ballet is about being transported to a fantasy, metaphorical or spiritual plane. All the dancers danced with such boldness and confidence it was really impressive, especially since the pandemic must have really challenged them to keep up their technique and endurance. Amar Ramasar replaced Andrew Veyette and was very devilish in his role, seeming to delight in the way he used the vanity of the Sara Mearns character to draw her into death, a clever commentary on the dual levels of how even the privileged can have the rug pulled from under their feet in a second ( or that by grasping for more and more, we ignore signs of risk and danger). Anyway, a complicated piece with absolutely gorgeous music and costumes.
A great night, worth having come all the way from Boston to see it. I have tickets to the matinee which I hope will not get canceled!