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Spring Season 2013


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#16 ivanov

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Posted 10 May 2013 - 06:10 AM

By the way, NYCB has already dumped the Liberace sequined vest worn by the male lead in Who Cares and substituted with a simple black shirt with suspenders.


Why stop there? (I am not suggesting the male lead dance the role in his underwear.)

#17 abatt

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Posted 15 May 2013 - 09:23 AM

I went to the All Martins program last night. Never thought I would catch myself saying that, but I do love Fearful Symmetries. The entire cast of that ballet was outstanding, but I want to particularly mention the fearless dancing of Huxley and Isaacs as the secondary leads. Isaacs has been missing the past few months, presumably with an injury. She is back now, firing on all cylinders.
Mearns delivered another memorable performance in Barber Violin Concerto. For years I could not watch this work because of the casting. In Mearns, Martins has found the perfect embodiment of the role. I thought everyone else in the Barber cast (Bouder (replacing Megan Fairchild) and J. Angle) performed well, except LaCour. LaCour looked like he had taken sleeping pills a few minutes before the curtain went up. A very lethargic performance.

I 've never been a fan of Calcium Light Night. R. Fairchild and Sterling Hyltin performed their roles well, but it's not my cup of tea. Also, Hyltin was putting on her "I'm FIERCE" expression, but it was a bit too over the top.

River of Light was well done, especially by Reichlin. Her long limbs make a big impression.

This was a "See The Music" performance. I'm always in favor of education, but this already-too-long program became even longer by the addition of the See the Music Lecture delivered to a captive audience during the pause between Calcium and River. Why can't they do this lecture during the intermission or 15 minutes bofore the performance starts,so that the length of the program would not be extended by 10 or 15 minutes?

#18 Colleen Boresta

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Posted 17 May 2013 - 04:19 PM

It's a little late, but now that I finally got around to getting a new password I want to share my thoughts about the May 11th matinee performance.

At my second viewing of New York City Ballet’s American Music Festival, the audience was treated to an all Balanchine program. One well performed George Balanchine work brings a huge smile to my face but seeing four is pure heaven.

The afternoon begins with ‘Who Cares?’ which is set to sixteen George and Ira Gershwin tunes. The first section of this ballet features ten female corps dancers and ten soloists – five girls and five boys. The ballet comes into its own when the soloists perform their duets to classics like “Do Do Do” and “Oh, Lady Be Good”. All the dancers – Brittany Pollack and Andrew Scordato, Erica Pereira and David Prottas, Savannah Lowery and Cameron Dieck, Ashley Laracey and Justin Peck, and Faye Arthurs and Devin Alberda – are equally wonderful.

I had hoped to see Tiler Peck and Robert Fairchild in the pas de deux to “The Man I Love” but Sterling Hyltin and Amar Ramasar’s duet to this ballad is especially lovely. Hyltin glows with an inner ecstasy as she falls more and more in love with Ramasar’s character. He is the perfect partner for this radiant ballerina. Ramasar’s dancing is also a good match for the demurely coy Ana Sophia Scheller in “Embraceable You” and the breezily witty Ashley Bouder in “Who Cares?”

The principals also perform their solos exceptionally well. Ashley Bouder “builds” her “stairway to paradise” with perfect timing, spot on phrasing and quicksilver footwork. In “My One and Only” Scheller’s fouettes and chain turns are electrifying. Sterling Hyltin slips slightly at the beginning of her “Fascinatin Rhythm” number, but goes on to execute brilliantly a dizzying series of turns. Her footwork, however, could be more precise. Ramasar looks like he’s having the time of his life while dancing to “Liza”. His rhythm, his timing, the snap of his fingers – all remind me of a young Gene Kelly.

My only complaint about ‘Who Cares?’ concerns the new costumes (for everyone in the cast but the leading man). Those worn by the corps and soloist women are quite ugly. They used to be a nice red and a soft blue, but now these women wear outfits in either a gaudy turquoise or a hurt your eyes hot pink color. The costumes for the principal women are not bad, but I much prefer the old attire. I understand that ballet outfits get worn out, but that doesn’t mean that a designer can’t create new costumes with the old colors and styles.

The next work is ‘Ivesiana’ which is performed to the music of Charles Ives. The ballet is divided into four parts. Three of these four sections are set in almost total darkness. The first segment, “Central Park in the Dark” concerns a young woman (Ashley Laracey) stumbling around in the black of night. A man (Zachary Catazaro) arrives for a brief moment, but then he leaves. As far as I can see, nothing happens in “Central Park in the Dark”.

The second section, “The Unanswered Question” is by far the most interesting. A beautiful girl with long flowing hair (Janie Taylor) is held aloft by four men. Her feet never touch the ground, but on occasion she fleetingly touches a fifth man (Anthony Huxley), who is clearly fascinated with her. “The Unanswered Question” is somewhat reminiscent of the last scene of ‘Serenade’ (where the main ballerina is lifted up and taken away from the stage). The girl in “The Unanswered Question”, however, is much more spectral figure than the “Waltz Girl” in ‘Serenade’. And no NYCB dancer does dreamlike as beautifully as Janie Taylor. As the young man yearning to hold the girl and keep her close (which never happens) Anthony Huxley is heartbreaking.

The third segment of ‘Ivesiana’, “In the Inn”, is the only part performed in daylight. It does not seem to fit with the rest of the ballet. A man and a woman (Ask la Cour and Teresa Reichlen) meet and very casually dance by themselves and with each other. At the end they shake hands and depart, leaving me to think that even the great George Balanchine had his off moments creatively.

The last section “In the Night” shows female corps members crawling on their knees in almost complete darkness. It is weird but also strangely moving and Balanchine’s choreography complements the music perfectly.

The next work, ‘Tarantella” is a pas de deux performed to Gottschalk’s music. As always, ‘Tarantella’ is pure joy and energy translated into spectacular choreography. Gonzalo Garcia delights the audience with his meticulous footwork and his lightning fast turns. Every step Tiler Peck takes is amazing, but I am especially impressed with the way she knows just how to play with the phrasing of the music. Peck truly gets better every time I see her dance.

The afternoon ends on a high note with the performance of one of my very favorite ballets, ‘Stars and Stripes’. The work is divided into five campaigns, each based on the music of John Philip Sousa (adapted and orchestrated by Hershy Kay). The first two sections, to “Corcoran Cadets” and “Rifle Regiment” are danced by female corps members led by a female soloist. The third segment, “Thunder and Gladiator” is carried out by the men in the corps de ballet with a male soloist as their leader. All the corps members (women and men alike) stand out for their wonderfully synchronized dancing to Sousa’s rousing marches.

Both female soloists (Lauren King and Megan LeCrone) do a good job heading their regiments, but Troy Schumacher is absolutely outstanding as the “Thunder and Gladiator” soloist. This role has been owned by Daniel Ulbricht for a long time, but in a debut on Saturday afternoon Schumacher really makes it his own. His leaps and multiple air turns are especially exciting.

As “Liberty Bell” and “El Capitan”, Sara Mearns and Tyler Angle show a delightfully playful chemistry. Mearns really enters into the spirit of the Sousa ballet as she throws off some great fouettes. My only complaints about her performance are that she doesn’t hold her balances long enough and that her scissor leaps are somewhat small. As her partner, Tyler Angle (also making a debut) is fantastic. As a soloist, he is even better. I especially like the bouncy steps which show off his incredible ballon and the turns a la seconde performed at the speed of sound.

The last campaign is danced by the entire company to “Stars and Stripes Forever”. At the end of the ballet, as the American flag rolls down the entire back stage of the David Koch Theatre, I find my eyes welling up (as usual). I am a little disappointed, however, that a round of applause didn’t greet the American flag (as it usually does). Again, it was an incredibly memorable day at the ballet.

#19 mira

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Posted 17 May 2013 - 06:48 PM

abatt, so good to hear your impressions and especially good to hear that Ashly Issacs is back - she is a force and an astonishing dancer. Thanks to you and also to Colleen for sharing your thoughts with those of us who can't be there in person.

Mira

#20 balanchinette

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Posted 22 May 2013 - 08:32 AM

I went to the performance last night. Serenade was, surprisingly, the least well-danced. The conductor was a guest and started off a little too slow, I thought -- the performance seemed to lack momentum at first -- similar to the tempi at which ABT dances Balanchine. Ashley Bouder had an uncharacteristically off night, with a botched pirouette in one of her solos when she was at center stage -- I've never seen her do that before, and she was a fantastic Liberty Bell a couple of weeks ago with technical prowess to spare. Then Adrian Danchig-Waring dropped a corps or demisoloist (wasn't sure) girl on her butt -- she seemed rather stunned and took quite a while to get up. Rather rough Serenade overall, though Sara Mearns was better last night than in the same role last season -- her upper body was much more flexible. Krohn was ok, too -- though it's too bad that Maria K. doesn't seem to dance Dark Angel any more -- her arabesque was to die for in that role.

Red Angels, however, received a powerhouse performance from all involved. Great energy. Amar Ramasar and Tess Reichlen were amazing, and Jared Angle and Jennie Somogyi, while overshadowed a bit by the other couple, were also great. My one complaint was the amplification on the electric violin being a little too loud for my ears. Tschai pas, which followed, was also brilliantly danced -- the best and most musical I've see Megan Fairchild do it. Veyette had an incredible series of perfectly landed double tours (in fifth, in plie, facing dead front) and tossed off some firework virtuouso steps. Both looked like they were having a lot of fun.

A beautiful Firebird ended the evening. Stafford replaced La Cour and did a credible job (maybe he's a little too short for Maria's firebird, but he managed). Maria was wonderful, she gives the role such glamour. I feel if anything that Maria's technique has strengthened with time, especially her turns and jumps. Her Berceuse was incredible, I loved that she started that gorgeous rippling-arms/backbend exit into the wings closer to center stage, so we could really get caught up in the spell of the moment. A lot of Firebirds start that two steps from the wings and then they're done in almost no time at all. The orchestra sounded great throughout.

#21 Colleen Boresta

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Posted 28 May 2013 - 01:04 PM

Doesn't anyone go to NYCB once ABT arrives at the Met?

I went to the May 26th matinee which was called A Tribute To Broadway.

The afternoon begins with ‘Fancy Free’. ‘Fancy Free’ was the first collaboration between choreographer Jerome Robbins and composer Leonard Bernstein. It is the story of three sailors on leave in New York City during World War II. They are, of course, looking for fun and women. ‘Fancy Free’ is as fresh today as when it was first performed in 1944. The jazzy score by Bernstein fits Robbins’ choreography perfectly.

As the three sailors Joaquin De Luz, Robert Fairchild and Andrew Veyette have great chemistry. They are very believable as close friends. De Luz is all high-flying energy as the first sailor. As the dreamy second sailor Robert Fairchild is just perfect. Veyette’s rumba dancing third sailor does not have the Latin flair of American Ballet Theatre dancers like Jose Manuel Carreno and Marcelo Gomes but he nails all the moves producing a sexy comic dance. Gretchen Smith and Tiler Peck are very good as the two girls the sailors fight over.

The second work on the program is ‘Who Cares?’ It contains choreography by George Balanchine and is set to sixteen George and Ira Gershwin tunes. The first segment of this ballet is danced by ten female corps dancers and ten soloists – five girls and five boys. ‘Who Cares?’ really comes to life when the soloists perform duets to songs like “Somebody Loves Me” and “That Certain Feeling”. All the young dancers are equally good.

Then the lights dim and the second part of ‘Who Cares?’ starts. This section of the piece has often been compared to Balanchine’s ‘Apollo’. There is one man and three women. Each of the women dances once with the man and once by herself. Then the man gets to do his solo. ‘Who Cares?’ concludes with the entire company dancing to “I’ve Got Rhythm”.

Amar Ramasar’s pas de deux with a luminous Steling Hyltin to “The Man I Love” is just exquisite. He also dances with the briskly witty Ashley Bouder to “Who Cares?” and the sweetly demure Teresa Reichlen to “Embraceable You.” Reichlen seems a little tall for Ramasar, especially when she goes on pointe.

As already mentioned, the principals each dance a solo. Ashley Bouder stands out for her musicality and spot on phrasing as she skips to “I’ll Build a Stairway to Paradise”. Teresa Reichlen is really more an adagio dancer and her solo to “My One and Only” lacks the needed sharpness. Sterling Hyltin shows off her incredible speed in her “Fascinatin’ Rhythm” number. Her steps are definitely more precise than when I saw her dance this solo on May 11th. I don’t think Hyltin is quite up to the level of Patricia McBride or Tiler Peck but she’s getting there. Amar Ramasar reminds me of a young Gene Kelly as he dances to “Liza”.

I still can’t stand the new costumes for the female corps dancers and soloists. Fortunately they don’t detract from the glorious joy that is George Balanchine’s love letter to New York City.

The program ends with 'West Side Story Suite'.

‘West Side Story Suite’ is a vigorous ballet which highlights male bravura dancing. Chase Finlay is a very young, idealistic Tony. The way he bounds toward the sky in his “Something’s Coming” solo is both touching and exuberant. Andrew Veyette leads the Jets with his virtuoso dancing. His voice, however, is merely okay. He does not sing “Cool” nearly as well as Nikolaj Hubbe or Damian Woetzel did, but they are both retired from NYCB.

The ladies also help make ‘West Side Story Suite’ memorable. Georgina Pazcoguin is a triple threat – great dancing, great singing, great acting. All flashing limbs and glorious attack, Pazcoguin belts out a droll and cynical “America”. The ladies accompanying her are very good. Lauren Lovette’s Maria is artlessly pure.

As always, I find my eyes welling with tears during the “Something” finale. The blend of Leonard Bernstein’s music and Jerome Robbins’ choreography conveys me to that special “place for us.” I hope New York City Ballet continues to dance ‘Fancy Free’ ‘Who Cares?’ and ‘West Side Story Suite’ for many years to come.

#22 canbelto

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Posted 02 June 2013 - 05:59 PM

I went to this afternoon's performance. The absolute highlight was a totally kick-ass rendition of the Stravinsky Violin Concerto. Sterling Hyltin and Robert Fairchild were absolutely adorable in the second pas de deux, Maria Kowroski and Adrian Danchig-Waring sexy and provocative in the first pas de deux. The finale was a completely joyful folk dance. The corps de ballet was completely on, and that was a joy to watch. Another highlight was the lovely Andantino with Tiler Peck and Gonzalo Garcia.

#23 balanchinette

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Posted 03 June 2013 - 08:31 AM

I went to this afternoon's performance. The absolute highlight was a totally kick-ass rendition of the Stravinsky Violin Concerto. Sterling Hyltin and Robert Fairchild were absolutely adorable in the second pas de deux, Maria Kowroski and Adrian Danchig-Waring sexy and provocative in the first pas de deux. The finale was a completely joyful folk dance. The corps de ballet was completely on, and that was a joy to watch. Another highlight was the lovely Andantino with Tiler Peck and Gonzalo Garcia.


Agreed that Stravinsky Violin Concerto received a great performance -- I love Danchig-Waring in just about anything, he has wonderful line and dances full out with abandon. So happy he was finally promoted, long overdue. But that said, I do think Maria and Amar Ramasar have a special connection in these Balanchine B&W pas de deux -- their Agon is electrifying and so is their Violin Concerto. I really enjoyed Danchig-Waring in the opening and closing sections, though, and he's a good match with Robert F. as both have great energy and technique.

Allegro Brillante was also fantastic -- except that the floor seemed especially slick -- maybe they polished it after the previous night? Megan LeCrone took a nasty spill near the beginning (hope she's ok, she certainly danced fine after), and shockingly Megan Fairchild slipped twice -- she is so consistent, I've never seen her slip before (let alone come close to falling). All three slips were at entirely different places on the stage. The corps/demisolo dancers have never been stronger in Allegro, both men and women. And Veyette is having an amazing season, such clean lines and virtuoso dancing. His Theme and Variations the night before was astounding, he was gorgeous in that ridiculously difficult solo with the double tour/single pirouette/double tour/ double pirouette combination/repeat. I think he's the only one who can alternate the pirouettes like that AND land all his double tours completely, facing front. Most guys do doubles all the way through to keep up momentum, and they start cheating on the double tours towards the end. It was really thrilling to see Veyette pull it off so perfectly -- and I love seeing tall men do this role, they always look beautiful in the costume! The last time I saw Gonzalo Garcia attempt it he ended up about 20 feet to the right of where he started and almost fell over at the end-- not pretty. I wish, though, that they would put Veyette and Ashely Bouder back together in these virtuoso pieces, they are perfectly matched in energy and stage presence. While Megan is good, she's no Ashley in these pieces, and she's a little short for Veyette. The best T&V and Allegro performances I can remember are Veyette/Bouder performances.

One last word on the Cage -- Tess Reichlen is unsurpassed as the most scary and sexy Queen ever! Wow. Tess is so versatile, she is probably my favorite dancer at city ballet right now -- so tall, killer extension, able to jump and turn even better than the "soubrette" types, amazing stage presence/characterization, and she does everything while looking absolutely gorgeous! Would love to see her do T&V (although partering would be an issue given her height). And Janie Taylor is a worthy inheritor of Wendy Whelan's role. Jared Angle was great in the lead male role, I much preferred him to Sebastian Marcovici.

#24 Colleen Boresta

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Posted 06 June 2013 - 09:58 AM

[size=2][size=4][size=5]I just read Mary Cargill's review of Chase Finlay's debut in "Stars and Stripes". It confirmed my belief that tall, princelike dancers like Finlay - the ones who excel in roles like Apollo, are not the best dancers for the lead role in Stars and Stripes. Although he danced it many times, I never liked Charles Akegard in the ballet. Damian Woetzl, Ethan Stiefel, now Andrew Veyette and Tyler Angle - these are the best dancers for the El Capitan role (in my opinion anyway). I am going to New York City Ballet's final performance of the season on Sunday and can't wait to see Bouder and Veyette in Stars and Stripes. I'll definitely post about their performances as well as about the performances in Serenade and Stravinksy Violin Concerto early next week.[/size][/size][/size]

#25 canbelto

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Posted 07 June 2013 - 08:06 PM

Braved the rain and Tiler Peck's Allegro Brillante was every bit as fabulous as everyone says. She manages to be so majestic and commanding and her pirouettes were so fast it was dizzying. Veyette and the wonderful Demi-soloists were all completely on tonight. The new costumes continue to ruin Who Cares? for me but Sterling Hyltin was lovely in the Man I Love duet with Robert Fairchild. Scheller has learned to relax her shoulders and gave a wonderful performance. Great evening.

#26 Marga

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Posted 07 June 2013 - 10:16 PM

It WAS a great evening at the NYCB. I loved the costumes in "Who Cares"! The last time I saw the ballet live was over 40 years ago and I don't remember what they wore then. Sterling Hyltin was amazing and I really liked HER costume. So beautiful. Abi Stafford - a real cutie. Her "I'll Build a Stairway to Paradise" was peppered in the beginning with Balanchine's signature off-balance positions which Ms. Stafford accomplished with the requisite aplomb and assurance. Ana Sophia Scheller - stellar! Posted Image What a beauty and a dancer of lovely lines (they all have lovely lines, actually) and presentation.

Lauren King, dancing "Oh, Lady Be Good" (with Daniel Applebaum) performed with the slightest sassiness befitting the choreography and the song (if you know the lyrics). She's such a watchable dancer (I started watching her when she was 12 years old and performing with the Eglevsky Ballet) and has a gorgeous ballet body that serves her well with Balanchine works. Her years with City Ballet have made her a confident, stand-out performer.

Finally, after the somewhat polite reception given the "Barber Violin Concerto", "Red Angels", and "Allegro Brillante", the crowd went wild with hoots and hollers for "Who Cares", for the ballet itself, the fantastic Gershwin repertoire of songs, and for the wonderful New York City Ballet corps and, especially, its exceptional soloists.

#27 canbelto

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Posted 08 June 2013 - 03:03 AM

I agree that Lauren King always shines. Even when she's in the corps I watch her. So glad she's now a soloist and she was lovely in "Oh Lay Be Good."

#28 puppytreats

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Posted 08 June 2013 - 06:29 AM

[size=2][size=4][size=5]I just read Mary Cargill's review of Chase Finlay's debut in "Stars and Stripes". It confirmed my belief that tall, princelike dancers like Finlay - the ones who excel in roles like Apollo, are not the best dancers for the lead role in Stars and Stripes. Although he danced it many times, I never liked Charles Akegard in the ballet. Damian Woetzl, Ethan Stiefel, now Andrew Veyette and Tyler Angle - these are the best dancers for the El Capitan role (in my opinion anyway). I am going to New York City Ballet's final performance of the season on Sunday and can't wait to see Bouder and Veyette in Stars and Stripes. I'll definitely post about their performances as well as about the performances in Serenade and Stravinksy Violin Concerto early next week.[/size][/size][/size]


You don't consider Veyette to belong to that first category?

#29 puppytreats

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Posted 08 June 2013 - 06:31 AM

Braved the rain and Tiler Peck's Allegro Brillante was every bit as fabulous as everyone says. She manages to be so majestic and commanding and her pirouettes were so fast it was dizzying. Veyette and the wonderful Demi-soloists were all completely on tonight. The new costumes continue to ruin Who Cares? for me but Sterling Hyltin was lovely in the Man I Love duet with Robert Fairchild. Scheller has learned to relax her shoulders and gave a wonderful performance. Great evening.


What amazes me most about Tiler Peck is that her pirouettes accelerate as they progress.

#30 vipa

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Posted 08 June 2013 - 07:50 PM

Just came from tonight's performance and want to comment briefly.

Barber Violin Concerto -First off I think the dichotomy between modern & ballet is a somewhat outdated idea. I believe it probably was even when the ballet was choreographed. People like Kylian, Forsythe, Tharp and others have successfully integrated movement qualities and vocabulary. Aside from that the choreography was pretty boring and arbitrary. The section with Megan Fairchild buzzing around plain annoying.

The Infernal Machine - Ashley Laracy's body looked great. It was only 6 minutes long but didn't fully hold my interest. My husband started watching the percussionists in the orchestra.

Allegro Brillante - Sara Mearns looked great and danced with her special brand of musical abandon. Veyette continues to have a great season. His solo sections (and sections with the men) were beautiful and clean. His partnering, presentation of his partner and relating to her in every way all wonderful.

Tchai Suite 3 - I am one who wishes they'd just do T&V. Is there a reason they don't? That said the first movements are easy to watch. I particularly liked Ana Sofia Scheller and Daniel Ulbricht in Scherzo. His jumps, the pictures he makes in the air and unaffected stage presence, as always a joy. She is a lovely dancer.

The Theme & Variations section - I have been a ballet goer for over 40 years and have seen T&V dozens of times. Tiler Peck did the Theme of my dreams. I've seen great ballerinas do it and always walked away thinking - if only this or that little section had been more this or that it would have been perfect. Not this time. Not a technical flaw, musical in ways that made me sit up and take note of a particular phrasing. Her way of moving fast with her upper being so fluid is amazing. She finds space to luxuriate during allegro that seems impossible. DeLuz had some uncharacteristic difficulties in his solos, but was still quite enjoyable. The opening theme with DeLuz and Peck was grand. The phrasing, port de bras and openness they both brought to it - nothing short of magnificent.

BTW - I saw Peck do it last year, and that was great, but this performance was in another realm. Like I said - The Theme of my dreams!


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