A review of New York City Ballet by Alastair Macaulay in The New York Times.
There’s fault to be found with individual dancers, while several have room to grow, but the general level of musical precision and sweeping physical freedom was scintillating, exhilarating, galvanizing. The walls and floors of the Koch Theater foyers also feature a striking new installation by the prizewinning artist J R; the company’s dancers are his subject matter, and several of his images are imaginative, haunting and poetic.
Mary Cargill's review for danceviewtimes.
.....There were no misses from Sara Mearns, dancing the second violin with her usual ability to make the stage disappear and let the audience feel she is seeing some mystery beyond those four walls. She combines this otherworldly quality with almost dizzying speed and attack, and she commanded the stage.
Maria Kowroski, as the first violin, the one who gets the pas de deux, unfortunately, came a distant second. Her extreme flexibility, while striking, seemed uninflected and she danced everything with the same, slightly diffident, approach, never varying the dynamics. Tyler Angle, in his debut as the mysterious partner, was attentive and gracious.