NYCB Spring 2007 Week 1

[drb]

So, did you enjoy the beginning of all Balanchine week?

[Klavier]

So, did you enjoy the beginning of all Balanchine week?

Just in brief for now, and maybe I'll expand later: a resounding yes to yesterday's opening night. A long but substantial program consisting of 4Ts, Agon, and Bizet, with Pavane thrown in I suppose as a pre-farewell to Kyra Nichols. I could have done without this short piece, which is too fey for my liking, but just about everyone looked strong throughout and all three primary works were mesmerizing. DeLuz lost control for a moment in Bizet:iii and had to put his hand down to balance himself, thus turnng a potential applause-grabbing moment into a slight uh-oh one. I found it especially interesting when observing the Bizet to consider how Balanchine's choreographic choices both mirror and play against the musical structure (perhaps more on this later). As you all know, I'm not enough of a dance person to say anything significant about any of the dancing per se, but I can speak about Karoui and his orchestra, which sounded quite good on the whole. I thought the tempos spot on throughout, and only in parts of Agon (where, most notably in the 3rd iteration of the prelude - before the pas de deux, there was a minor train wreck) did they sound ragged.

This week is dedicated to Lincoln Kirstein, and at orchestra level, there are photos of his townhouse in case that's of interest. They're doing 10 Balanchine works associated with him, and as I saw at least three of the best, it was a very satisfying start.

[kfw]

This week is dedicated to Lincoln Kirstein, and at orchestra level, there are photos of his townhouse in case that's of interest.

I wonder if the photos are from the book "Quarry: A Collection in Lieu of Memoirs of Lincoln Kirstein."

[Project Talk]

It was just wonderful for me to see the company back in back in action. What I enjoyed the most, was seeing the fun and comradery between the dancers. The couples were truly there with one another. There were also a few corps members I thought really steped up to the plate, Savannah Lowery, Megan LeCrone, and Lauren King to name a few. I am really looking forward to seeing the season develop. There is some great rep coming up. What are others looking forward to seeing?

[sz]

I thought Karoui did a well enough job as conductor, though Sym in C was a bit too fast starting out (1st and 3rd movements) having nowhere to build up to by the 4th movement which on its own is suppose to build (speed up) as it moves along. I like the 4th movement fast, but it should build... to an exhilerating pace... not start off at highest speed.

Briefly, Sym in C:

Scheller did a fine job debuting in 1st movement though it looked a bit under rehearsed overall. Scheller will no doubt become more and more comfortable with this huge lead... given some rehearsal time. In this performance, I thought Scheller was more lovely and radiant than ever, plus being technically secure, that I really can't wait to see her in many more principal roles.

Bouder did a fine job in 3rd movement; it's a perfect part for her (lots of jumps and flash) and the speediness of last night's conducting actually made that part a little easier to execute for the female. Unfortunately, for the male lead, that same tempi, a bit too speedy, forces the man to spin rather than control his turns which is why DeLuz lost his balance a little. Still, I thought DeLuz danced very well. He seems more comfortable than ever with Mr. B's choreography.

Peck certainly delivered the goods as ballerina of the 4th movement. Gorgeous, bright, sparkles, with perfectly executed turns, as well as a nice feel for the music. She seems totally at ease in this part and it is lovely on her.

Kowroski was a huge disappointment for me. She looked as though she had been dancing on raked stages recently.... Too much leaning backwards.... and her neck was so tightly pulling back that I thought it was going to whip lash at a few important technical moments. Also, I cannot think of two dancers with less chemistry together than Kowroski and Philip Neal. Last night's 2nd movement pas de deux was icy and forced with these two leads.

Other ballets of the evening:

Four Temperaments: Loved, loved, loved Sylve in Sanguinic. It's difficult to watch anyone else on stage when Sylve is there... Her presence and technique are so strong and womanly beautiful. Sylve's looking very happy to be back on the NYCB stage.

The other 4Ts' leads, besides Scheller's demi in Melancholic, looked rather under done or too tough. Preparations and struggles with the choreography were also too visible... I liked Suozzi of the men the best -- he definitely has his own drama going on, but he's not well coached in the details yet for a great Melancholic.

As for the corps.... in 4Ts and Sym in C, I thought they danced very well if a little under prepared.

Pavane: Kyra did so much to make this tiny piece such a beautiful moment of the evening. Kyra is a beauty inside and out, and radiates her goodness from an organic place which is so touching a connection with the audience. I prefer Kyra's interpretation to Patti McBride's of years past, but I would love to see Janie Taylor soon... She'd give it the haunted mood I'm craving. Otherwise, this ballet doesn't do much for me.

Agon was all about Tess Reichlen looking better than ever! Ditto Andrew Veyette! Both dancers brought a new life to Agon I wasn't expecting.... Both are in great shape and having a wonderful time exploring new personal interpretations. These two dancers are still growing in their dancing, and it's very exciting to watch the progress.

[Balanchinomane]

It was a wonderful opening night. Everyone looked fresh and sharp

and happy - The stars were out last night and the audience showed

their appreciation. Lots of curtain calls - it wasn't a new crowd -

these folks knew who they were seeing.

Ellen Bar subbed for Reichlen as Choleric, Reichlen did the 2nd

Pas de Trois in Agon. So many standout performances -

just wonderful casting. Suozzi as Melancholic, Sylve, Kyra,

Whelan and Evans, Veyette.

The Crown Jewel is Symphony in C.

Scheller is as grand as Ringer in 1st Mvt.-perfect placement.

Kowroski is expansive and regal, expertly partnered by Neal.

Bouder and DeLuz well matched. He poufs up his hair which adds

a little height. Each couple took a call back bow - Tiler Peck

bounced on stage just as they were called back. She stood still

with that infectious smile - thought she would start clapping too.

The large photos were not yet hung on the promenade balconies

yet - hope to see them up tonight!!

[ViolinConcerto]

I also enjoyed the performance as a whole, very much -- partly out of gratitude that Balanchine was back. This week's programming is really to my liking -- the only other ballet I could ask for would be the Stravinsky Violin Concerto in D -- but I'm prejudiced. (And maybe Liebeslieder, performed in the very room in the palace at Amalienberg. Just for me. Sigh.)

In the 4 T's, I thought all the themes were done well, with dignity and attention to line and to the music. I felt that all the corps women let themselves be absorbed into the very strange thrust pelvis, upper body back posture that has always reminded me of praying mantises. I was really happy to see Sean Suozzi cast in a principal role, but was then a tad disappointed when he didn't seem to have the confidence he needed in the falls -- too timid -- but otherwise he was excellent, especially when the women came on. Sylve was as strong as usual, very Sanguinic, and nothing more could have been asked for from La Cour's phrasing. I always suspect that he learned it from Adam Luders.

Pavane is a mood piece, one of Balanchine's many romps with fabric (Serenade, Porte et Soupir, Errante, even the last section of Vienna Waltzes). He beautifully expresses the music, which is fundamentally sad, and as everyone usually says, almost an aside....but Kyra is (as Patty was) beautiful, and brings deep feeling to this little wisp of a ballet. Am I right in remembering that Patty's costume was much shorter?

Agon was played wonderfully, and danced very, very well. I am not a Reichlen fan, so it was not about her for me, as sz said. As always, Whelan and Evans were well matched in the pdd. I thought the opening and closing sections were much better than they usually are.

I hadn't read the cast changes posted on BT, so I was very surprised not to see Jenifer Ringer. Scheller was so eager to please and enthusiastic that she left Stafford behind in her dust. I also felt that Korowski was not at her top form, and looked very tentative, especially on the penchee. Philip Neal was very strong, centered and supportive. I love his line. (However, his hair looked a little darker than usual.) Bouder bounded and de Luz leapt, except for that brief tip, in the 3rd movement, which to me doesn't give them enough to do, and Tiler/Tyler did a beautiful job. HER hair and lipstick looked darker than usual. Am I seeing things? I agree that the 4th movement was TOO fast.

It was wonderful, seeing and hearing all that beauty, and feeling so intensely engaged by the totality.

[Klavier]

I thought Karoui did a well enough job as conductor, though Sym in C was a bit too fast starting out (1st and 3rd movements) having nowhere to build up to by the 4th movement which on its own is suppose to build (speed up) as it moves along. I like the 4th movment fast, but it should build... to an exhilerating pace... not start off at highest speed.

Nothing in Bizet's score indicates that there should be any increase in tempo in the 4th movement. Whether doing so is an NYCB tradition is another question. But purely in musical terms, I could not object to Karoui's tempi. I did object to the sudden stentando on the last two chords. Keep it in tempo, please.

Just out of curiosity, I compared the tempi on a CD (London Symphony under Roberto Benzi, 1965) with those of an NYCB video I have from 1973, and the results are instructive. (Those who would like to bring their stopwatches to compare Karoui's next performance are free to do so.)

1st movement:

Benzi: 7:13, half-note = 160-168

NYCB: 8:15, half-note = 136

Notable tempo discrepancy here.

2nd movement:

Benzi: 9:10, dotted-quarter = anywhere from 36-44. There's a lot of tempo fluctuation in this reading, getting especially fast in the fugato in the middle.

NYCB: 8:48. dotted-quarter = 40

3rd movement:

Benzi: 5:57, dotted-half = 120

NYCB: 4:28, dotted-half = 112-116

The tempos are not actually much different, and since minor fluctuations can be expected at any time. Benzi probably takes a repeat the video does not, or that Balanchine did not choreograph. I'm not sure which.

4th movement:

Benzi: 6:22, quarter = 136 throughout

NYCB: 6:30, quarter = 132 in the first section, then increasing slightly to 140 and remaining there. Or so it seemed. Basically both performances are at the same tempo.

Neither CD nor video includes the repeat of the first section (where the first group of girls lines the perimeter of the stage), so Benzi would be 8:52 with the repeat. I think omitting the repeat in this case is a desecration to Balanchine's design, which depends on ever-larger accumulation of people on stage.

Subjective perception of tempo, however, is not a very exact thing. Any number of factors can affect one's sense of whether a tempo is fast or slow: the acoustics in the hall, how well the musicians articulate (a sloppy performance will sound too fast, while a well-articulated one at exactly the same tempo will sound just right), how well the dancers seem to be keeping up, the listener's own internal clock, one's memory of a prior performance, etc. Some musicians have (by analogy with perfect pitch) what can be called "perfect tempo"; for example, there are Toscanini performances recorded years apart that apply the same tempi to the second - as well as performances by other musicians (Gergiev!) who seem never to take the same tempo twice.

Since I am used to Benzi, as well as a similar tempo for the first movement from other recordings, Karoui's tempo for that movement sounded quite moderate for me.

[Farrell Fan]

Thanks for the illuminating analysis, Klavier. Karoui's tempi throughout Tuesday night's performance sounded just right to me. I thought his performance was a good example of why he earned the job as Music Director.

[bobbi]

I could certainly get used to these All Balanchine evenings!! I was there both Tuesday and Wednesday, and the company looks terrific. Random highlights for me:

Great to have Ask La Cour back. He has matured, and I think will be a great asset. And oh those nice soft landings!!

I thought Sean Suozzi made a very respectable debut in Melancholic, but I missed Bart Cook's gravitas (melancholy?) in the role.

I was not looking forward to Pavane but it turned out to be the highlight for me. Patti's interpretation was very, very sad, but Kyra's was just elegant. Two great artists but a very different feel. I liked Kyra's better.

Ana Sophia is a joy in 1st movement Bizet. She started a little nervous but her style and musicality came through by the end. Despite a little partnering flub, this was a major debut.

And Tiler Peck's debut in the 4th movement was perfect!!!

Well rehearsed Barocco, Square Dance and Symphone in Three Movements on Tuesday. Abi Stafford and Jaret Ange were terrific in the central pas in the Three Movements.

Although I am not begrudging any of the above ladies their debuts, when is Ashley Bouder going to be making debuts in any of these ballets?

[sz]

>Klavier: Nothing in Bizet's score indicates that there should be

>any increase in tempo in the 4th movement. Whether doing so

>is an NYCB tradition is another question. But purely in musical

>terms, I could not object to Karoui's tempi. I did object to the

>sudden stentando on the last two chords. Keep it in tempo, please.

Thanks for the interesting details from Benzi's, et al. However, I was only recalling Mr. B's conducting during rehearsals (setting tempi) with the conductors and dancers -- what *he (Mr. B)* wanted here and there.

Mr. B often revised pieces somewhat to suit his personal tastes, and we who were fortunate enough to be there learned so much from how Mr. B saw and heard music. He never distorted the music, or cut / pasted inappropriately, but Mr. B often, definitely, showed us all what he felt would be best for his dancers, his choreography and the music (for dancing, not for Carnegie Hall)... We usually gobbled up with much enthusiasm this man's fine, fine tastes.

As for Karoui, sure he's good but I have no doubt that if Valery Gergiev wanted the job, he (Karoui) would be replaced.... in a heartbeat.

[Project Talk]

Bouder is a real live ballerina, She doesn't need debuts to make a splash. Besides, shes been doing Sym in C, and Sym in 3 for years now. I am ready to see Megan LeCrone make debut after debut. She has somthing truly special. LeCrone,Bouder,and Stafford were the perfect trio for that Stravinsky romp. It had me buzzing all night. I could hardly get to sleep.

[bart]

Subjective perception of tempo, however, is not a very exact thing. Any number of factors can affect one's sense of whether a tempo is fast or slow: the acoustics in the hall, how well the musicians articulate (a sloppy performance will sound too fast, while a well-articulated one at exactly the same tempo will sound just right), how well the dancers seem to be keeping up, the listener's own internal clock, one's memory of a prior performance, etc. Some musicians have (by analogy with perfect pitch) what can be called "perfect tempo"; for example, there are Toscanini performances recorded years apart that apply the same tempi to the second - as well as performances by other musicians (Gergiev!) who seem never to take the same tempo twice.

Klavier, thanks for that insight. It's something I will take along with me to many kinds of concert in the future.

And thanks, sz, for giving us a glimpse of Balanchine responding to his feeling for the music.

[drb]

I thought Karoui did a well enough job as conductor, though Sym in C was a bit too fast starting out (1st and 3rd movements) having nowhere to build up to by the 4th movement which on its own is suppose to build (speed up) as it moves along. I like the 4th movment fast, but it should build... to an exhilerating pace... not start off at highest speed.

.....

Nothing in Bizet's score indicates that there should be any increase in tempo in the 4th movement. Whether doing so is an NYCB tradition is another question.... Some musicians have (by analogy with perfect pitch) what can be called "perfect tempo"; for example, there are Toscanini performances recorded years apart that apply the same tempi to the second - as well as performances by other musicians (Gergiev!) who seem never to take the same tempo twice.

Great stuff, sz and Klavier! I wonder whether Bizet, when a mature artist, had he revisited that old homework assignment, might have had further thoughts on the symphony's tempi. Certainly, as sz points out from direct experience, Mr. B. did. sz, did you feel that Balanchine's tempi remarks were for the music qua music, for the total sight and sound package, or were dancer specific?

Thanks also Klavier for the idea of "perfect tempo." I especially found interesting your remark on recent NYCB conductor Valery Gergiev. Earlier this month Diana Vishneva discussed his conducting in an interview in Izvestia. My translation:

...DV: He rarely conducts ballet. The last time we worked together was while in Paris, the Rubies section of Jewels.

I: Your colleagues say he is difficult, that he never looks at the scene. Is he a convenient conductor for you?

DV: He is a great conductor, although absolutely not a ballet conductor. In the sense that he never "plays under the foot (leg)" nor questions [himself as to] what tempi are necessary for the dancers.

When Gergiev conducted here, I believe one of BT's posters who had a good view of the maestro noted that he did not watch the dancers. Yet he raised Ashley Bouder to a new height of greatness in Firebird. Some dancers reach their greatest peaks when performing with partners who create spontaneous surprises for them, Makarova, for example. It says something of Bouder's greatness and musicality that with Gergiev as partner she rode the wave to the sublime.

[clicker285]

This week is dedicated to Lincoln Kirstein, and at orchestra level, there are photos of his townhouse in case that's of interest.

I wonder if the photos are from the book "Quarry: A Collection in Lieu of Memoirs of Lincoln Kirstein."

Suggest a reading in April 16, 2007 regarding Lincoln Kirstein; his complex life, his grand ego,

(he installed the "fantastic overscaled Nadelman sculpture" , of himself on the NYCB theatre promenade).

No matter how long and how hard Kirston tried, he confesses to never being close to Bal,, Read it!

[sz]

>sz, did you feel that Balanchine's tempi remarks were for the

>music qua music, for the total sight and sound

>package, or were dancer specific?

The total sight and sound package for sure!

Mr. B adjusted choreography and tempi, yes, a bit considering each lead ballerina's needs and/or the group of dancers when he felt it necessary. And by adjusting tempi I don't mean slowing it down so a dancer could execute more pirouettes, tricks, etc., .... destroying the flow of the music. During the daily process of keeping a season going, Mr. B did keep his current rep fresh, interesting, by changing things here and there, minorly, adapting for each new generation of artists and audiences. It was an exciting time because he was such an exciting artist with endless creativity and fine taste. It was never a matter of a ballet not "working" so better try to fix it.

Generally, it seemed to me that Mr. B had a set tempi in his mind, and the big picture, before he ever began any detailed choreography. I was extremely fortunate to be around when Mr. B choreographed several ballets from scratch and/or brought back older pieces not danced in years. It was always an amazing experience to watch him bring music to dancing life and do this so casually and quickly.

Valery Gergiev has a wonderful understanding for certain types of music. I don't know him or his work very well at all, but from what I have heard (and seen)...he knows plenty about what dancers need, as well as the music and musicians. Gergiev wouldn't need to watch the dancers constantly on stage to feel the conducting was going well... just as dancers do not watch the pit constantly to be sure the conductor sees their dancing. I remember being able to sense who was conducting whatever ballet almost any night I was performing at NYCB without even looking into the orchestra pit!!

There are certain cues a conductor and dancer must connect on with eye contact or physical gesture, but mostly it is all about great music being played at its finest for each ballet's style, and any adjustments needed is the Director's job to communicate to the Conductor. Not with a metronome, but with mutual respect, trust and appreciation between great artists who know the end result will be breathtaking.

[bobbi]

I agree 100%, Project Talk, that Ashley Bouder makes a "splash" whenever she's on the stage. And, yes, I am well aware that she has done 3d movement Bizet and been in Symphony in Three Movements for a few years. However, 1st movement Bizet is a meatier, more nuanced role; it is that part I was hoping to see Ashley in. With her superb talents, I think is the one to restore the balance between the 1st and 2nd movements. I too would like to see her as part of the lead couple in Three Movements; right now, she's not doing the main role.

[vipa]

I could certainly get used to these All Balanchine evenings!! I was there both Tuesday and Wednesday, and the company looks terrific. Random highlights for me:

Well rehearsed Barocco, Square Dance and Symphone in Three Movements on Tuesday. Abi Stafford and Jaret Ange were terrific in the central pas in the Three Movements.

I particularly liked Rutherford in Barocco - her generosity of movement. I saw Fairchild in Square Dance last season and thought it wimpy until the end. Not so in this Wednesday's performance. She was a delight. I agree that Stafford & Angle were terrific in Symphony in 3, but the performance as a whole was pretty terrific.

In my opinion NYCB hasn't looked this good doing Balanchine in a while. The company seems happy to be dancing these ballets. I'm happy.

[sz]

Getting back to the performances of this week....

I'm really looking forward to seeing Friday night's Sym in C again(!!) with Scheller, Peck, Bouder and Sylve's 2nd movement!!

I was there last night (Wed) and found it a bit bland, too polite, overall... or over acted in compensation for a lack of gorgeously interesting execution.....with the exception of Hubbe, Bouder and Rachel Rutherford's second violin of Concerto Barocco! Rutherford, who has never been a favorite of mine, was suddenly dancing with a passion and confidence I've never seen from her!

Alastair Macaulay is *on the money* about this performance....in Thursday's NYTimes (4/27/07).

[hbl]

Wow... Thursday night was just WOW. An all Balanchine Black and White evening. It doesn't really get any better than that. The evening consisted of Concerto Barocco, Duo Concertant, The 4 T's, and Symphony in 3 Movements. One better than the other. Two from the 1940's and two from the Stravinsky Festival in 1972. And they all looked more alive than anything done by anyone else since then. He was a genious. Not that I needed any more convincing.

Barocco was danced by Whelan, Rutherford and "Alfred" Evans. They had to make an announcement to correct the program...... Whelan, was well, Whelan. I think she is really at the high point of her career... she just flows with the music. She was magical. I am becoming a bigger fan every time I see her.

Duo with Darci and Nils was wonderfully danced. They do dance quite well together. No nasty step mom here. Nicely done. The old girl (boy saying that makes me feel really really old), did good. She still can do it. A lovely dramatic performance.

The 4 Ts was, as always amazing. Sean Suozzi is really coming into his own and did a nice job with Melancholic. Sylvie was perfect in Sanguinic. She has a fluidity of her movement that is very beautiful. Ask la Cour did a great job with Phlegmatic. Seems like Martins is keeping the whole family busy tonight. Ellen Bar was replaced by Reichlin - whom I have seen in Choleric before. Her long limbs are perfect for this role. I was sort of curious to see how Ellen Bar would look but instead got the treat of seeing Reichlin in it. NO complaints there.

Finally Symphony in 3 Movements was wonderful. I forgot how beautiful this ballet is. I don't remember the last time I saw it. As always Ashley Bouder just lit up the stage. She is such a dynamo and this is a perfect part for her. She is such a delight. Megan LeCrone was also superb. I hadn't really noticed her that before this but I was impressed. She is a comer. Abi Stafford was also excellent.

A great program. Great dancing. It just doesn't get better than this. Its very late and I am very tired. So goodnight all.

[AmandaNYC]

I thought Sean Suozzi made a very respectable debut in Melancholic, but I missed Bart Cook's gravitas (melancholy?) in the role.

...

And Tiler Peck's debut in the 4th movement was perfect!!!

Suozzi has actually been doing the role off and on for several seasons now-- he made his debut several years ago, before Boal's retirement. Does the fact that it wasn't his first time in the role affect your opinion of the performance?

And, for 4th mov Sym in C-- did you mean Tyler and not Tiler? Peck has done the part before-- but you're right-- she is quite perfect in it. With some dancers, you can see how hard that role is, but Peck does not betray that (if she even finds it hard!)

-amanda

[jimmattimore]

So, did you enjoy the beginning of all Balanchine week?

I loved my Thursday, April 26 visit: a perfect night of live ballet after spending weeks watching videos. Darci looks great and Wendy is not acidic. My new corps favorite is Geargina Gina) Paxoquin who is beautiful and delightful and exuberant and gorgeous. I also want to see the beloved and gorgeous Janie Taylor return to the full repotoire.

I despise winter, I love spring, and bluebirds and NYCB.

Jim

[sz]

And tonight's performance ( Fri, 4/27/07)...

Scheller, Bouder and Peck were wonderful in their respective movements of Sym in C. DeLuz was a delight in the 3rd. I just love how he holds nothing back.

I also loved Sylve in the 2nd, but something was a bit off tonight.... or she needs to approach it next time with more sensual, dreamy regalness. She is very regal naturally, but tonight her style was a bit too grounded... a queen versus some fantasy.

Perhaps Sylve danced too many (as in all of them!) Sangunics this week wherein she must devour the stage with technical strength and earthy command... and her otherworld's mystery didn't have time to brew (eg, rehearse)(?)....

But, oh my gosh, overall it was such a joy to see Sym in C again being danced with confidence, radiance and technical security from the very accomplished female principals.

[clicker285]

It was just wonderful for me to see the company back in back in action. What I enjoyed the most, was seeing the fun and comradery between the dancers. The couples were truly there with one another. There were also a few corps members I thought really steped up to the plate, Savannah Lowery, Megan LeCrone, and Lauren King to name a few. I am really looking forward to seeing the season develop. There is some great rep coming up. What are others looking forward to seeing?

Frankly, looking forward to seeing much more of Glenn Keenan. Having been aware of her since she began;

soloing in countless progams, enjoying working hard , always improving her technique. Her stage presence is electrifying; you always know when she arrives . Her dancing is inspired by her intelligence and warmth.

[drb]

Saturday, April 28

Boom! and Ballerinas

Terpsichore, Balanchine's version of Apollo that puts the lead Muse on level with the demigod by excising his birth, opened the program. During a solo by Nilas Martins, a loud Boom! from somewhere up and to the right sounded in mid-arabesque, followed a few seconds later by a quieter rumbly growling sound (was it an exploding light?). The dance went on, and was dominated by Maria Kowroski's Terpsichore. She was strong, in character, and a living poem of arabesques. She also seemed less severely skinny than last season.

Jennie Somogyi looked confident and gave a very filled-out account of Polyhymnia, and Rachel Rutherford, so missed during much of last season, made Calliope stand out with a special layer of joy. Nilas Martins seems miscast as Apollo at this stage of his career. There was a lack of epaulement, especially notable when compared to the program's cover photo of Nikolaj Hubbe in the sunburst finale of this production. A reach should reach. Still, he clearly gave it his all, and his successful partnering of Maria as she swam while mounted horizontally on his upper back, drew a substantial burst of applause from the large and demonstrative house. Isn't it about time that yet another, related, Dane in the company had a go at Apollo?

Agon This was wonderful. Andrew Veyette continues to advance toward Principal level, nearly flawless yet intense in the Sarabande and with Ashley Laracey and Savannah Lowery in the first PdT's coda. Tess Reichlen was sensational and looked happy dancing the Bransle Gay, and Double with Seth Orza and Amar Ramasar (and good to see his technique catching up to his charisma). A great ovation.

Wendy Whelan and Albert Evans may not have anything left to say about the grand PdD, but repeating what they know is wealth enough to thrill. The ballet stopped as they were cheered. Bravi too to Marika Anderson, Sophie Flack, Dara Johnson and Gwyneth Muller. Three curtain calls.

Symphony in C A Festival of Ballerinas. Earlier in this thread it was suggested that Ashley Bouder should be promoted to Act 1 from Act 3. Well, of course! But, now that Ana Sophia Scheller owns Act 1, how could they do it? My favorite Act 1 lead in decades! Her natural Petipa style, and absolutely dazzling technique, is breathtaking. Classical restraint in the form of human warmth. Proportion, yet amplitude. I also admired the way Gwyneth Muller projected a nuance of Sleeping Beauty in her demi-soloist role. The crowd acknowledged Ana Sophia's triumph vociferously.

I concur with sz's remark that Sofiane Sylve, partnered by Charles Askegard in Act 2, was regal but not dreamy: she had the command but perhaps not the mystery one would like. Also, the penchee arabesque did not go deep at all, more just a bow to her partner. Still, she was a Queen. And even more, La Sylve.

Act 3, welcome back Kaitlyn! Ashley Bouder and Joaquin De Luz exploded onto the stage. Quite superior to the Boom in Apollo, it reverberated throughout the whole movement. Bouder was in full Imp mode, taking her character so beyond technique that she seemed to be inhabiting all the eyes in the theatre.

The Finale featured that other firecracker, that teen Kyra known as Tiler Peck. All smiles, of course. How will being Juliet affect her stage personna? Tyler Angle was her partner, and it is good to see his technique tested. If.... a successor to Peter Boal?

Goodbye, Mr. B. If just for a couple of weeks. I hope the powers that be decide to continue treating you this well when you return.