REVIEWS: NYCB Week 5

[bobbi]

Last night was an exhilerating night evening at NYCB. I like this combination of Mozartiana, Piano Pieces and Tschaikovsky Piano Concerto No. 2: two "chamber" pieces and then a granddaddy windup make for a satisfying ballet blend.

Everyone was terrific in Mozartiana. Wendy is always good in this but she outdid herself. The very pleasant "news" is how really good Philip Neal was; his foot work was incredibly precise. Although always a reliable partner, he just seemed to have come into his own as a dancer. And Danny Ulbricht added a touch of elegance to his over-the-top technique. Just a super performance all around. Great ballet.

I've always considered Piano Pieces to be one of Robbins' best works. There is little of the annoying stuff and lots showing his special and great gifts. Jennie Somogyi especially took advantage of her part. She has the rare gift of plastique -- something Robbins uses a lot -- and she showed it off here. Also noteworthy was Jeny Ringer for her charm and lyricism. Really nice. There was a little gasp when Meagan (subbing the Abi) slipped but she recovered quickly and did well.

The best of course was the last. The Tschai. Piano No. 2 is one of my Top Ten Favorites. Sofiane is starting to really play with this now and (despite a little slip at one point), is becoming a master of this gut-cruncher. I would give her an A- overall. She lost "points" in my mind during the opening sequence because I remember Patty McBride doing a sort of hop in her turns. Sorry I can't explain it better but am hoping to see this restored this coming Sunday when our Miss Ashley takes over the role. But make no mistake: this was a superb performance by a real ballerina. And I am very glad to report that Teresa Reichlen is paying more attention to the music and to phrasing. She really is so stunning to look at that sometimes overlook the fact that she is not innate musically, but she was good in the second ballerina role. And Seth Orza and Sen Suozzi caught the elegance of their roles. Just a terrific performance by all hands.

[balanchinette]

The Three Masters program is a nice combination, although I'm still against the whole block programming idea (and have been going less because of it). I saw this one twice, though, mainly for Mozartiana and TP2. Wendy is one of my favorites in Mozartiana. She seemed a bit off her pirouettes on Thursday night, but was wonderful last night. That last pose in the variations section, where she drapes her head backward over Philip Neal's shoulder, was sigh-inducing. The cast for Piano Pieces was great. I'm not a fan of the folksy group parts, but the pas de deux were all beautiful (and much better than anything Peter Martins came up with for R+J, with Romeo basically hauling Juliet around like a sack of spuds). Jennie Somogyi looked great, I hope to see much more of her this season -- wonderful phrasing, and Jared Angle was very good, too. Jen Ringer was lovely in her solo, you could hear a pin drop when she was dancing, the audience was enraptured. And that last lift where Ask slowly turns her upside down and walks off into the wings, is one of the best ever! TP2 is ALL about la Sylve for me. I don't really want to watch anyone else do it, now! Sofiane has technique to burn, and energy through the roof. She energizes the whole ballet. Those grand jetes, tour jetes, and unreal pirouettes and fouettes, just wow! On Thursday night, she finished her gorgeous fouette sequence with a perfect triple! Amazing. I've seen her do it 4 times now, and she's great each time. I think the ballet looks better with Chuck Askegard, especially in the second movement where the male lead has to manipulate those lovely corps ladies. Looks better with a taller man. In fact, Sofiane and Tess (phenomenal, gorgeous extension and balances) are both tall, and the corps women were also pretty tall, so a tall man is needed to balance it out. J Stafford was decent, but seems too short for Sofiane and the corps women. TP2 is one my favorite Balanchine ballets, the corps choreography is just beautiful, but I really think it's more effective with tall leads, so I'm not sure how Ashley will come across. Also seems like the lead ballerina in TP2 should be a more "mature", romantic type. Sadly, Wendy is no longer up to the challenges, I saw her do it in the winter and she looked like she was struggling. Sofiane is in her prime, and is just breathtaking in this role.

[sz]

Agreeing with your wonderful review! Thank you!

>TP2 is ALL about la Sylve for me. I don't really want to watch anyone

>else do it, now! Sofiane has technique to burn, and energy through the roof.

>She energizes the whole ballet. .......I really think it's more effective with tall leads....

>Also seems like the lead ballerina in TP2 should be a more "mature", romantic type.

Yes, at one time, Wendy was brilliant in TP2...Sigh. I've seen several ballerinas dance it, but Sofiane is my favorite as well, Gillian Murphy in second place at ABT. I'm sure Bouder will dance it very well, but I agree with you in that the choreography is meant for a more mature, womanly, taller dancer. Legs, legs, legs --- in this ballet....

I would have picked Tess Reichlen for the next debut in the ballerina role, seeing what she could do with those long limbs of hers and brilliant turns and jumps, as well as her fine adagio. I think Tess badly needs some inspiration.... But then again, Ask LaCour doesn't seem ready... yet....and he's the only other tall guy around for someone like Tess... besides Chuck..... Sigh...

[drb]

Wednesday, May 23, 2007

Forza Mearns, Tiler Triumphant

Tonight's conductor Nicolette Fraillon was successful with Gounod and more than that with Stravinsky.

The Divine Sara Mearns shot through Walpurgisnacht like a thunderbolt, echoing through the half empty theater (at least in the rings). Taking chances, daring and gambling, dancing huge and in beauty. After all these years, revealing what Farrell and her assistant Balanchine had created. So extremely rare at NYCB, this treating of a Farrell ballet to new life. Her partner was Ask laCour, and the PdD went well enough for a debut. They look very attractive together. But still more new life, the debut of Ana Sophia Scheller as second ballerina, already we could see her technical command, rather thrillingly pulling off the S-W-N-E turns. A debut with plenty of charm, verging on, and no doubt soon, charisma. Another delightful debut was Rachel Piskin's, pairing with Alina Dronova (one of her most pleasing roles). While the two weren't yet fully in synch with their early hops, that was a minor rehearsal glitch in what were two terrific performances. The corps's hair-flying dance near the end brought memories of Darci's early bouts with hair in her few corps moments. And Sara is a dream of a hair dancer, as was Suzanne.

The evening ended with a great masterpiece, the Stravinsky Symphony in Three Movements. With Peck subbing for Bouder subbing for Hyltin subbing for Bouder (the fearsome insert said Peck for Hyltin, it also said Whelan for Stafford), the pairings were Whelan/Evans, Peck/Gold, LeCrone/Danchig-Waring. You will know from the three curtains, at so late an hour, that all six merited praise. Wendy and Albert gave full evidence of the central PdD's place in Mr. B's pantheon. Tiler Peck's super technique carried her through the first movement, as if she'd had plenty of rehearsal time, or so was my lame sense. But by early on in the third movement I began to be aware that something special was going on. This was not Smiley Peck, nor the Tiler sidetracked by Juliet. She was somewhere else. She had grabbed Stravinsky's rhythms by the throat, creating Balanchine's steps right before our eyes, she wasn't dancing for us or to us, she was dancing for Mr. B. Sorry Ashley, you'll just have to go on to the lead in this ballet, for me this role is now Tiler Peck's. She's found the music. She's a Balanchine Ballerina.

About the sparse house. In between these two ballets was Liebeslieder. There are some who love it. There are even more who love many of its dancers. But for many who have seen it, they know it is long, too long for a working night evening. Especially as a middle ballet, since you know the third cannot start before over two hours. Butts are tired from sitting at work all day, and it is a quiet ballet. And always, with this blockhead programming, Symphony in Three Movements, which could win so many newbies to Balanchine goes unseen. I was the only one left in a segment of 8 seats in my row. Either they don't buy tickets, or if they do, they are just too tired or too bored... I mean no disrespect to Balanchine/Brahms, all my disrespect is saved for blockhead.

[perky]

TP2 is one my favorite Balanchine ballets, the corps choreography is just beautiful, but I really think it's more effective with tall leads, so I'm not sure how Ashley will come across. Also seems like the lead ballerina in TP2 should be a more "mature", romantic type.

The original lead for TP2 (then called Ballet Imperial) was Marie-Jeanne wasn't it? I don't believe she was a tall dancer, from pictures her body looks very much like Bouder's. Not tiny, but not tall either and powerful looking legs. I think the lead ballerina is very much a perfect match for Ashley, it couldn't have been more perfect than if Balanchine himself came down and crowned that tiara on Bouder.

[sz]

>The original lead for TP2 (then called Ballet Imperial) was Marie-Jeanne wasn't it?

>I don't believe she was a tall dancer...

Marie Jeanne Pelus did originate the Ballet Imperial role. She was small-ish, and a bit stocky, as was nearly everyone in Balanchine's company in those days (1940's).

I don't have a problem with the many shorter dancers currently at NYCB... I just feel badly for the taller women, who are very few, and who are not dancing much because they don't have tall, excellent, male partners to work with.

I was at Walpurgi last night too. Mearns is a lovely, womanly, dancer. I'm very much looking forward to seeing her dance this part again with another partner.... Ask, her sub-for-Neal partner was a mess again with partnering mistakes everywhere, and I'm sorry but in a principal role, a tiny solo for the male, he must pointe his toes in grand jetes. Ask was nowhere near Mearns' level of professionalism.

[balanchinette]

Yes, at one time, Wendy was brilliant in TP2...Sigh. I've seen several ballerinas dance it, but Sofiane is my favorite as well, Gillian Murphy in second place at ABT. I'm sure Bouder will dance it very well, but I agree with you in that the choreography is meant for a more mature, womanly, taller dancer. Legs, legs, legs --- in this ballet....

I would have picked Tess Reichlen for the next debut in the ballerina role, seeing what she could do with those long limbs of hers and brilliant turns and jumps, as well as her fine adagio. I think Tess badly needs some inspiration.... But then again, Ask LaCour doesn't seem ready... yet....and he's the only other tall guy around for someone like Tess... besides Chuck..... Sigh...

Gillian Murphy is brilliant! I always think when I watch her that she's wasted at ABT...she would make a great Balanchine dancer at City Ballet. And David Hallberg is beautiful. I've only seen Ballet Imperial at ABT once, and would not do it again, though. The costumes and set are so tacky and distracting -- pink and purple tutus, velvet drapes, and chandeliers, for crying out loud. Just overwhelms the dancers -- you don't need tall dancers when it's Ballet Imperial! The tiaras and chandeliers will blind you so you can't see. And ABT took it at a glacial pace. What a difference to see it as TP2 at City Ballet! Where it's all about the expanse of movement (more legs, please!) and the beauty of the choreography and music. It would be interesting to see Tess doing the lead, but she doesn't seem strong enough, yet. Can't believe she was passed over for principal, though. Her extension is beautiful (she might be the only one who could do the head to the knee penchee in the Symphony in C adagio). Her legs rival Maria's. If PM isn't careful he will lose her like he lost Carla Korbes.

[carbro]

. . . I agree with you in that the choreography is meant for a more mature, womanly, taller dancer.

I would have picked Tess Reichlen for the next debut in the ballerina role. . .

If Tess is older than Ashley, the difference can't be very significant. She entered the company a year behind Ashley.

I don't see that Ashley's proportions are a disadvantage in this role. She is built very similarly to Merrill Ashley, who practically owned TPC2 for years. A bit shorter, but their leg:torso relation seems pretty close to me.

I also think that typecasting in this way has sometimes gone too far at NYCB. Wouldn't you love to see Ringer's 2nd Movement Bizet, for example? She was such a gorgeous Odette! Not everyone with long legs has the musicality to do those great adagio roles well. And I think that's what may be holding Reichlen back. That, and perhaps the lack of more than one suitable and capable partner. Time to start giving some of the taller, younger men some opportunities to step out of the background.

[sz]

>(Bouder) She is built very similarly to Merrill Ashley, who practically

>owned TPC2 for years. A bit shorter, but their leg(s)....

Merrill was definitely taller and was a very different type of dancer than Bouder.

It's not just leg length that's needed for a ballerina role such as TP2.....

Ballo, Stars, Tarentella, Bizet 3rd mov, all work so well on Bouder because they're all

about flashy technique and high, youthful energy fitting the choreography and music....

TP2 requires something more, different....

Bouder will be very exciting in TP2, I'm sure, she has that brilliant technique, and speed, but she's not

womanly physically, and she doesn't have the same carriage as Merrill Ashley did or Gillian Murphy or

Sofiane Sylve with her own special glam beauty. Watching Ulbricht or DeLuz in the male lead of Chaconne as a sort of similar example.... it would be very exciting but not really the style of the piece.

I think Tess Reichlen would be inspired by such a big, technical role as TP2, and she does have the technique...... It might have brought out more of her Princess Grace Kelly style, as well as technical attack which I haven't seen since her fabulous debut as Sugar Plum in Nutcracker...

Or give the role to Mearns!!!

Prob again for both these tall women, is that there really isn't a tall male equivalent to partner them except Chuck A. or P. Neal.... but there are plenty of shorter guys at NYCB who can partner the likes of Bouder, Fairchild....

>Wouldn't you love to see Ringer's 2nd Movement Bizet, for example?

No. And who would partner her???!!!! Besides Chuck..... Nilas??!!! I love Ringer in earthy things, parts requiring wonderful acting, but she doesn't have the body for such a lyrical, sensual, extreme lines and dreamy adagio as Bizet's 2nd movement requires.

>Not everyone with long legs has the musicality to do those great adagio roles well.

Absolutely true. But I think it's there (just a hunch) with Tess Reichlen. Only because I saw it with much surprise in her Sugar Plum debut. Though speaking of Ringer.... there are roles I've always wished she would dance too, roles she seems perfectly suited for but hasn't been given.....Ditto Wendy Whelan..... It's been, to say the least, difficult to comprehend Peter's vision for this company.... It seems so short-sighted... (pun intended)...

[drb]

..... It's been, to say the least, difficult to comprehend Peter's vision for this company.... It seems so short-sighted... (pun intended)...

Oh, I see. It isn't the "short", it's the "sigh" in sight. What he can't see is the dancer who can make you sigh, or who can dance a sigh (as for example Tess's Lilac in Sleeping Beauty just as the prince is about to kneel to propose to Aurora). In short, Farrellness.

I hope Tess is re-inspired by her casting as Suzanne WREN in all those upcoming Union Jacks!

[sz]

> What he can't see is the dancer who can make you sigh, or who can dance a sigh....

Pretty much true, most of the time, I'd agree. But he does get it right once in a great while, eg, Janie Taylor,

and although not first or second or third choice, etc., etc., as Juliet, Erica Pereira....

>I hope Tess is re-inspired by her casting as Suzanne WREN in all those upcoming Union Jacks!

Funny, I was going to bring that up earlier.... but decided it was going too far into another direction....

As flattering as it must be to fill a big Suzanne role, I think Tess could not be more naturally wrong for Wrens..... and at times Tess looks very uncomfortable in it....rather than bathing in its fun. Now here's a role that would work so well on Ringer or Mearns. Both would devour it... as both these dancers always are so comfortable with being sexy and vampy on stage...

For me, Tess is the lovely, gentle, coltish female, with tons of solidly strong technique, and tall, long-limbed lines -- a natural Lilac Fairy, among other parts.

Well, enough of the wishing game..... But above all, I have always wished that Suzanne would have been the AD of NYCB and Peter would have been in charge of fund raising, working with the male dancers, and training them to be better partners... Sigh.

[drb]

Friday, May 25, 2007

Katie, Maria, Tess, and the Great Dane

The under-admired Wheeldon Carousel(A Dance) opened the program. On a day that hit 90 degrees outside, it was a perfect May day in Wheeldon's school yard. Late enough in the semester to offer hope to the students, but with a certain underlying anxiety: youths' need to find romantic partners for the sizzling summer.

Kathryn Morgan was one of the younger ones, not yet quite sure what exactly was up, as she wandered hesitantly about the crowd. Seth Orza had obviously taken note of the shy, ambivalent young woman, a strong but tender young Romeo thinking of a Juliet. But unlike an earlier pairing of this duo, tonight they had a choreographer. Would their names become linked by just a +, or by an and? Wheeldon captures Romeo's sensitivity toward his Juliet, the careful and caring wooing, the ways he shows his feelings, the way she searches her new emotions, the early attempted kiss, her complexity as she recoils yet grows from curiosity to .... Wheeldon gives them time, and shows the joys of this Maypoles season. She rushes back on stage. He lifts her for that short first kiss. In dance these two are becoming a very interesting and. But what about this story's couple? Will they be a +, or an and that they'll remember?

Remember?

A pause and then the full-length version of Alxei Ratmansky's Middle Duet. An angel of Light and one of Darkness frame Maria Kowroski and Albert Evans, this a couple verging on a panic of hurry. Perhaps rather than Angels the alternate translation Watchers might better apply. The dancers go through that remarkable display of Maria's gifts that gave the illusion that it'd been made for her, in November's Gala. The music sounds like lyric Bach but with a hint of a jazz rhythm section (the kind that might have evolved had T. S. Monk dominated the future of that art). Suddenly, subtly a gentle hint of brass reaches out from that section. Time has passed. Darkness strikes with what may be death as they fall to the floor. Light strikes down Darkness and raises the couple to their feet. Another pair begins their dance, Rebecca Krohn and Amar Ramasar, as Light begins to lead Maria and Albert off. But Darkness isn't dead, and frankly I wouldn't trust Light. The Wheel, in more theologies than one.

It was Robbins's turn next with silent Moves. Somehow, as usual, his dance is perfectly cast. I wish someone were similarly looking out for Mr. Balanchine. The gamorous Tess Reichlen, with Andrew Veyette, lead the extraordinarily flawless performance. So much better than it was years ago. Maybe it's that now cell phones add just the right counterpoint to coughs? At the beginning Kaitlyn Gilliland was the first to break away from the line. Later she oftened seemed to be dancing along with Tess. But eveyone danced starringly. Tess, Kaitlyn, Savannah Lowery, Georgina Pazcoguin, Rachel Rutherford, Amanda Hankes, and Andrew, Craig Hall, Adam Hendrickson, Amar Ramasar, Jonathan Stafford, Antonio Carmena.

Finally, there was Balanchine's La Sonnambula. The cast was Coquette Jennie Somogyi, Poet Nicolaj Hubbe, Sleeper Wendy Whelan. So the review would be obvious. And the presence of Mr. Hubbe should insure multiple posts on BT! Daniel Ulbrecht's Harlequin was sensational.

Sweet Dreams...

[Balanchinomane]

I enjoy Carousel too. Morgan and Orza did have that young lover's approach - very sweet.

A big contrast to Woetzel's self assuredness and brashness that literally swept Tiler Peck

off her feet - a lovely, mature pas de deux. Peck is also young but has that self

abandonment that makes it exciting to watch her. Hope to see her tonight again in

Sym in 3mvts. I have to see Mearns again in Walpurgisnacht. It feels like she's

3rd generation in this also underappreciated ballet - Nichols always played it straight -

Mearns was stretching to the limit - so much like Suzanne. And she's a brilliant turner.

In the 2nd solo she does a sequence of what I thought were chaines but she was spinning

so fast it looked like her left toe never touched the stage. (Technical explanation ? please.)

Someone is taking good care of La Sonnabula. You can't take your eyes off Hubbe - even

when he is seducing the coquette on the bench. Wendy was all mystery, so light

and etherial. A wonderful performance by all.

It is Fleet Week and dress whites are all over town. There were 2 sailor couples in the 4th Ring.

The ladies liked La Sonnabula the best. The men loved Kowroski!

[ViolinConcerto]

It is Fleet Week and dress whites are all over town. There were 2 sailor couples in the 4th Ring. The ladies liked La Sonnabula the best. The men loved Kowroski!

I saw some very distinguished young guys in white last weekend -- it always impresses me that they choose the ballet when they could be out makin' like "Fancy Free".......

And sometimes there is a formal announcement and acknowledgement in front of the curtain at one performance. Did that happen this year?

[Balanchinomane]

No - but I remember Fancy Free being on the program this weekend as recently as 2004.

[drb]

In light of Ratmansky's current Middle Duet run at NYCB, it may be of interest that it is also playing at the Bolshoi. Natalia Osipova makes her debut tomorrow (previously danced by Svetlana Zakharova), partnered by Andrei Merkuriev. Moreover, it is part of a triple bill that could also be put together from current NYCB rep. The Dybbuk (but there titled Lea, and choreographed by Ratmansky, with Maria Allash in the lead role) and Jeu des Cartes (but there by Ratmansky rather than Martins, with a superstar cast headed by Masha Alexandrova). In light of the good will between the companies, wouldn't it be fascinating if we had a triple bill exchange between the two?

[Buddy]

In light of Ratmansky's current Middle Duet run at NYCB, it may be of interest that it is also playing at the Bolshoi.

In light of the good will between the companies, wouldn't it be fascinating if we had a triple bill exchange between the two?

Also worth remembering is that the Kirov next April in NYC will be performing Serenade, Rubies and Ballet Imperial for three days.

[ViolinConcerto]

The "Essential Balanchine" program tonight was all about energy, and you're going to have to forgive me for any extravagance, but it was really the kind of transporting performance that keeps you buzzing for hours afterwards.

In "Walpurgisnacht Ballet" Sara Mearns was focused, precise and intense while maintaining the grace and lyricism of the piece. I wish I knew the names of the short series of very tight turns done from stage left to stage right where she taps her right ankle with her left toe as she turns -- I recall seeing that last season, and being amazed at how clearly she was delineating this step, and how beautiful it was. She did it again tonight. And the series of very fast turns with hair flying, going off stage left -- that was amazing, no one I spoke to had ever seen that sequence of turns done so fast before!

I found Rachel Piskin quite delightful: a genuine (looking) smile, generous, musical steps. Alina Dronova was moving so fast she fairly took off -- it was almost a little too too! Ana Sophia Scheller was quite lovely, looking almost conservative in her demeanor and movements compared with the demi-soloists. Ask LaCour gave a respectable performance, but there were some steps in his solo where it seemed he wasn't quite "finishing" the sequence.

"Liebeslieder Walzer" was, for me, very satisfying and at the same time nostalgic, as Kyra will not be part of that lovely soiree anymore, and for me, Miranda's absence was very sad. Rachel Rutherford seemed especially radiant -- there are certain kinds of roles that are just right for her. I mention her, because as the only Soloist in a field of excellent Principals, she held her own.

"Symphony in 3 Movements" really exploded after that. It just sent everyone out of the theater with a total buzz from the energy. Tiler Peck replaced Ashley Bouder -- speculation was that she is preparing for her debut in PC2 tomorrow. Tiler was the only Principal who did not astound, even though Tom Gold gave her his full attention, and did not suffer from Tiler's being too tall for him. Megan LeCrone and Adrian Danchig-Waring were beautiful and totally in sych. To me, they danced as if they were dancers that had been selected and trained by Mr. B. and it was 25 years ago, when we used to clap so hard our hands burned..... And Abi Stafford -- who I've never liked, and really had no expectations for in the pdd -- had laser concentration and beautiful execution. Albert, of course, took perfect care of her. The 3rd movement was very, very powerful, with that stunning ending just taking your breath away. Damn! Now I have to be back in the "real" world.

[drb]

Sunday, May 27, 2007

The Tschaikovsky Show

This afternoon began with Kyra Nichols in Mozartiana. Actually, Miwako Chimura, Arden Pickoff-Rafferty, Skyla Schreter and Lindsay Turkel were four young girls who danced especially well, and with such effective coordination. They seemed sisters taken to church by their mother, Kyra Nichols, and were on their best behavior. After prayers, Kyra looked them in the eyes, two-by-two (a nice touch, perhaps a gesture to Mr. B., reflecting one of his favorite Bible stories), to beckon them to leave with her. I'd like to think each earned the ice-cream of her choice on the way home. A very personal and moving statement by Ms. Nichols. Perhaps no one will ever be able to act as intercessor for Mr. B as Suzanne was during Preghiera, yet this is also a very demanding ballet technically. Still in the afterglow of Sara Mearns's resurection of that other Farrell ballet, Walpurgisnacht, l cannot but long for a similar fate for this, my favorite of all Suzanne roles.

Robbins in the middle with Piano Pieces, and that means perfect casting and exacting coaching. Antonio Carmena was a splendid little cavalier, dancing to an even higher level than he'd done in R+J. Jennie Somogyi was especially soft and pliant, yet also clear and virtuosic, moving like liquid silver, a St. Petersburg look, superbly displayed by partner Jared Angle. This was memorable. But later on that invisible ballerina, Jenifer Ringer materialized (thank you, Robbins Trust!) and brought the house down. Last season I couldn't keep my eyes off her, even in a ballet I didn't want to see. Also good to see her partner Ask laCour look so well. If this is what rehearsal can do, the future will be far less dim for the likes of Tess and Sara.

Ashley Bouder was a perfect fit for Jonathan Stafford in her Tschaikovsky Piano Concerto 2 debut. She was dazzling, invigorating the choreography, and quite pleased by the ballet's end. But I was miserable. Her second performance is during SAB time, and I'll miss it. And we know about Bouder 2's! I can only guess at the pure classical grandeur she'll reach. One only need remember her Swan Lake 2 and Sleeping Beauty 2! Mr. Stafford was also impressive, both solo and partnering (Ms. Bouder, and also grandly sweeping the 10 women). Tess Reichlen is fantastic. Her airy lightness combined with such amplitude and formal beauty. It would be just as rewarding to see the two switch roles. But maybe better not: with so much Balanchine in need of salvation, better to spread the wealth of these, the top two of their generation.

[Brice]

drb, look for Skyla Schreter and Miwako chimura in the SAB Workshop performance of Twinkliana on June 2 at 8PM. I agree, these girsl, as well as the others , were wonderful.....

[balanchinette]

The Essential Robbins program on Saturday afternoon was wonderful entertainment. Maria K. was definitely worked hard -- she appeared in all 3 ballets and was in Middle Duet the previous night (very well done with Albert -- the steps were repetitive but so was the music, it all worked b/c it built up to a discordant climax). The highlight of In G major was the pdd -- Maria and Philip Neal were beautifully smooth. There was only one moment, where Philip has to lift Maria onto his shoulder, that the effort actually showed. Otherwise it was spellbinding, and the walking theme reminded me somewhat of the Emeralds section in Jewels.

I found Dances at a Gathering to be under-rehearsed, maybe it will get better at subsequent performances. I totally disagree with the NYT review on Rachel Rutherford -- I liked her the best, the NYT reviewer didn't like her at all. I thought she was wonderful. She was at the point where she was just dancing, and not thinking about steps. Her pdd with Amar Ramasar was one of the better parts. The highlight was Damian W., who's still got the stuff. When he jumps, he just seems to hang in mid-air. It's something that no other male at City Ballet can do right now (Danny and Joaquin belong in a different category -- they are great jumpers but don't have the elegance Damian has). The lowlight -- Yvonne "Trembolino" Borree, who has been having a chronic case of the shakes in almost every performance I've seen her in over the last year. It's very distracting to see her fingertips vibrating -- I find myself almost watching for it and neglecting the rest of the dancing. Why she has the shakes when she's partnered by such greats as Damian and Nikolaj beats me. And she had one of the biggest parts in the ballet. The other weak point was Antonio Carmena, who was fine in solos but when he was partnering Ashley, I could have sworn there was one point where he had to lift her overhead and didn't quite manage it -- they both had a surprised look on their faces. Sure, he's small, but so is Ashley! Every time he had to do a lift you could see the effort and that detracted from the overall effect of the ballet.

I'm Old Fashioned was charming, as usual.

On Sat night, I too missed Miranda Weese. In fact, I've been missing her all season. She was one of the strongest technicians among the female principals, and just beautiful to watch. She danced a mean Rubies, and was great in Tchaikovsky pdd (both with Damian, what a power team!) and Allegro Brillante. Sigh. Sara Mearns is a very impressive turner, but I found the rest of her dancing a little too forceful and not as smooth as I would have liked. But Ana Sophia was awesome! She owns that role. Ask la Cour was ok. His neck is a little too long, it always gives him a bird-like quality!

On Friday night, Jennie Somogyi made a great Coquette in la Sonnambula, which was well danced by all (Danny was great as the jester), and I thought the orchestra sounded particularly fine.