Joyous, technically strong ensemble work in Divertimento No. 15, Ballet Imperial, and La Valse. What a thrill to see so many dancers performing their hearts out at the conclusion of Ballet Imperial, impeccably in sync.
Rapid growth in skill, stage confidence, and versatility of Tricia Albertson, Jeremy Cox, and Jeanette Delgado -- everybody's favorite substitutes: they can dance anything and are still so young.
Miami Ballet's mini-series of classes for adults at the Kravis Center in West Palm. Learning barre exercises, positions, steps, and then putting some of it together in the center work at the end of the session was an incredible experience -- and one which has really helped me to "see" what dancers are doing on the stage. to former NYCB dancer Steve Caras, our teacher, and to Miami soloists Callie Manning and Didier Bramaz for setting such a pure example of each combination.
Giving to Paul Taylor's Arden Court a lightness, energy, and flight that stay in my visual and emotional memory.
Giving us La Valse, to remind us that Balanchine could descend (or rise) to the slightly tacky and sensational end of the sensual and emotional spectrum.
And esepcially Jennifer Kronenburg's airy yet grounded moves as the Sleepwalker.
Less successful: a Nutcracker that tended towards the lifeless, with the most conlused, crowded, and non-dramatic battle between the Nutcracker and Mouse King that I have seen.
That's just me. How about your impressions?
Edited by bart, 11 August 2005 - 12:51 PM.