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Jimmattimore, could you please let us know how Ann Sophia Scheller did as Hippolyta on Thursday? I'll see her on Sunday but was wondering whether she fulfilled my expectations. It's such interesting casting because she is pint-sized, but I hope she danced big enough to fill the role.

I've said it before and I'll say it again: Teresa Reichlen is fabulous!! Her Hippolyta in last night's Midsummer was absolutely breath-taking. To give you an idea of how good she was, in the second act coda you couldn't take your eyes off her -- despite the fact that Alexandra Ansanelli was dancing her heart out right beside Tess. Anyway, there were lots of other good things about this wonderful ballet that I once overheard an audience member say "makes your insides feel good." Darci still manages to pull off Titania, just on the sheer power of her stage presence rather than technique. I do wish De Luz would try more for flow in his dancing rather than the height of his jumps. For my taste, he still dances in the '"bronze idol" mode rather than using his substantial technique in the service of the choreography. And can't Peter (that all-time king of the soft landings) teach DeLuz to thump less when he lands? Special mention to James Fayette as Bottom. He brought back some favorite moments ("Bart Cook moments") while dancing with Darci. Really good job. The exquisite pas in the second act was danced by Wendy and Philip Neal, who I'm sure will be even more etherial as the run continues.

Jimmattimore, glad you mentioned Kathryn Morgan from the SAB workshop. I too thought she was a stand-out and was surprised that she wasn't a "Weinee." Could you tell me what she did at NYCB, as I too will pass the Double Features. Why does it seem when now that are oodles and oodles of terrific dancers at all levels (principal, solosit and corps) that there is so little real rep (read Balanchine ballets) to keep them shining. Bah humbug!!

I saw my first Sylvia last night with Julie Kent and Gennadi Savaliev as the leads. All the above posters who described the spectacular scenery and costumes were so very right. What especially pleased me was the way the scenery was made to fit that cavernous Met stage, so the whole ballet had the look almost of a "chamber ballet" and was more intimate. Very, very clever. And the costumes were gorgeous; there was no stinting on the fabrics and design. That being said, this seems to me to be a ballet built around the talents of one woman, so that one woman had better be a pretty spectacular ballerina. Although Julie turned in a very nice performance, for me it didn't rise to the level of a great ballerina performance, so actually I found it a little boring. (Sorry) Unfortunately, I won't be seeing this with Gillian Murphy, but I have high hopes that next Monday's casting with Michele Wiles and Marcelo Gomes as the leads will make this ballet a more magical experience for me. Now, those of you who are regulars on this board know that I am a great Balanchine lover, so you can take the following comments in that light: In the last act, Balanchine used the same music for the wedding pas and part of coda in his Coppelia. And, of course, all I could see was how much more Balanchine's choreography answered that delightful music more than Ashton's choreography. In my head, I kept seeing Patty and Helgi. Apologies to all Ashton fans, but once you've seen how Balanchine choreographs certain music, you can't get it out of your head.

Previous posters have pretty much said it all. The emotional highlight for me -- and I hope we get a picture in tomorrow's Times -- was Peter Boal lifting his daughter over his head: that's when my eyes got very misty indeed. It reminded me though that just when one door closes, another starts to open. I mention this because of the absolutely fabulous performances by both Andrew Veyette (even sans one slipper) and Amar Ramasar -- along with the stunning Teresa Reichlen -- in Agon.

Me again. . . but I just had to convey how happy I am with the "second" cast of Emeralds, i.e., Ashley Bouder and Jared Angle, and Sofiane Sylve and Ask la Cour as the leads. Wow!! My expectations were high, and they were met and then some by ALL hands. Not since Violette have I seen such incredible phrasing and rubato from the female leads. There were no discreet "steps" from both Ashley and Sofiane; their variations were one continuous motion in keeping with the line of Faure's music. I'm just bowled over, and I think the audience as a whole realized they were seeing something very special indeed. Jared and Ask were excellent partners, and both danced well in their own right. I hope lots of people on this board will be able to catch this cast tomorrow evening. Query about the Rubies: Is it possible to thoroughly enjoy a performance and at the same time have reservations about it? What prompts this question is Alexandra Ansanelli's "take" on this role. Please, please don't get me wrong; I am a big fan of hers. But in my memory, Patricia McBride danced this as a classical (neo-classical) ballet with a few "kinky" steps or distortions. It seems to me that Alexandra distorts the entire ballet from her first entrance. Now, I'm not saying it's not fun, but I really came away thinking that I didn't see a Balanchine ballet. (As an aside, I noted that Patricia McBride taught at SAB for a week this past January, and I would love for her to come to NYCB to "clean up" this ballet.) All that being said, Benjamin Millepied was everything he should be. The Diamonds had Wendy and Nilas in the leads. Wendy's performance was good enough to make me wistful for Suzanne, but (surprisingly) not enough to forget Suzanne. Maybe it was an off night (or maybe a different partner would make a difference). It's been a long day, so I'd better sign off. I'm looking forward to other posts about this new cast.

The first Brahams-Schoenberg of the season had Kyra and Steve Hanna as the leads with an exceptionally fine Ellen Bar as the featured demi. If there were a subtitle to this ballet, it would be Tricky Partnering 101. Kyra's vast experience and great aplomb carried the day. There were one too many times when Kyra's hand was a nano-second in place before Steve was there to support it. In any event, Kyra's directional changes were a marvel and a joy, and Steve did his job here: he just let Kyra be Kyra. Ellen Bar was truly outstanding in her phrasing and technique by the way. In the marvellous second movement (the Intermezzo), Mr. and Mrs. Fayette -- after a very rocky start -- turned in a nice performance. But I'm sure they will do better with the subsequent Intermezzos. There were two highlights of the Andante for me. One was Nikolaj because of his innate musicality and phrasing; the other was a corps girl (who, upon information and belief, as there was no slip in the program) was Ashley Laracy (who was subbing for Carrie Lee Riggins). I had not really focused on her dancing, but Ashley Laracy met the challenges of dancing in the spotlight, and is definitely one to watch. In the last movement, Wendy and Damian turned in their usual wonderful work, although I would characterize it as "subdued exhuberance." The Four Temperaments again worked its magic. Of course, it was the last time I will see Peter Boal in the Melancholic section, so that section was indeed aptly named. I tried to make a mental snapshot of his exiting backbend because we won't see the likes of that for a long time. (However, I said the same thing years ago when Bart Cook retired.) It was good to see Sofiane Sylve back (as she was not in many ballets last week), and she certainly seemed to be in tip-top -- actually stunning -- shape. Again, Teresa Reichen in the Choleric section was a show-stopper.

Wednesday, May 18 - The first Jewels of the season Well, I am happy to report that it was an exhilerating Rubies last night. There was a roar of approval (from an oft-times subdued partially gala audience) as the curtain descended on Miranda and Damian in the lead with Teresa Reichlen in the supporting role. The special excitement came not just from an excellent Miranda and Damian but from the well-danced corps and also from Teresa Reichlen with Kyle Froman, Adam Hendrickson, Aaron Severini and Danny Ulbricht as her four cavaliers. (I hope I got all the names right.) You cannot take your eyes off Teresa; she has incredible stage presence and such an easy jump with an otherwise excellent technique that those sustained exiting arabesques are not white-knuckle experiences but just plain awe-inspiring delights. And with four such strong cavaliers, she stayed right on the money musically. (That is my only quarrel with Theresa, but then again there are a few top-tier singers who sometimes stray from pitch.) In any event, do not miss her Rubies. It's one of the highlights of the season so far!! The Emeralds was also very nicely danced by the corps, and the trio was well done indeed by Amanda Edge (particularly terrific in her solo), Carrie Lee Riggins and Antonio Carmena. (Note to Antonio: tone down the smile in this ballet. Although I always enjoy how you convey your joy in dancing, in this particular ballet you should use a sort of mysterious smile -- if such a thing exists.) However, Antonio's solo was very cleanly danced, and I hope to see him get more roles. Mr. and Mrs. Fayette did a superb job in the walking section. I find their performance together adds an aura of romance here; it was beautifully danced. Jeny's lyrical gifts just shine here. (I'd better not comment on last night's leads, as I am so much looking forward to next Thursday and Friday; I've already got my Row A, Second Ring seats for what I expect will be one of the highlights of the season.)

I remember reading in the Fall 2004 SAB newsletter that she will begin her apprenticeship in 2005, which was delayed due to injury. But as I recall with pleasure from the Symphony in Space Wall-to-Wall Balancine event, she's one of those dancers who will be worth the wait. . . Let's wish her well.

Thanks for pointing out that Ashley had been in Barber before. Obviously I missed her, and it was only new to me. As far as Jewels go, I would really love to see Ashley in Emeralds (and not just because it's my favorite section). Over the past several years, this role has been cast with a very much less technically accomplished dancer. (Maybe that's what Gottlieb refers to as dishonoring the rep??) In any event, this great Verdy role requires a ballerina who has the ability to choose when to fall off point -- and this is right up Ashley's alley, particularly with her exquisite musicality and rubato. Of course, I would not sit out Ashley's Diamonds. . . . (sigh, sigh)!!! But let's see it before she's about to retire. Tempus fugit!!!

I must say I am very disappointed in the 4th week casting. There are so very little Balanchine ballets being done at NYCB these days, and I had hoped to see Ashley Bouder in a new role. But it's more of the "same old, same old" as far as Jewels, Four Ts and Suite 3 are concerned. It seems to me that the only new ballet Ashley has gotten this season is the modern dance section in Barber. Now, IMHO, Ms. Bouder is the best classical dancer in a generation and there is something wrong with "this picture" when she is given a modern dance role. (That's nothing against Barber or the role, by the way). Yes, she's only 21, but in just a few short weeks we will have the long six-month dry spell without any Balanchine ballets. TO THE POWERS THAT BE AT NYCB: Please, please use this extraordinary dancer more in "real" ballets (i.e., Balanchine ballets) and, while you're at it give us more Balanchine ballets. I was at NYCB Tuesday night. Whatever one could say about the casting of the ballet, it just zipped along. The rest of the night was interminable, boring, etc. etc. We old-timers spend money too, you know; don't forget us when seeking a younger audience. Our money is just as green as that of the younger audience, and many of us old-times love those Balanchine ballets. Watch out NYCB: you might lose the old-timers when changing the rep to non-Balanchine works. And, beware, nothing that has been created in the last twenty plus years is going to be around in twenty more years. It's all Tang compared to freshly squeezed OJ. Okay, end of rant.

As far back as I can remember (that goes back to Jacques), there has always been that playful interlude between El Capitan and Liberty Bell. El Capitan always extends his hand to the corps girl closest to him. One very memorable Stars for me was a matinee when Violette Verdy and Peter Shaufuss were really "hamming" it up. By the way, I was thinking about Violette on Friday because -- even at the very end of her career -- Violette was not winded durng that part of Stars -- just playful and charming, but Sofiane was really, really winded. Actually (and I'm a very big Sofiane fan) I was a bit disappointed in her Stars (which is the all-time test for a real ballerina). Perhaps she was having an off night. Has anyone seen her in it before? But I was very pleased with Steve Hanna; he didn't attempt anything that might have been beyond him, just danced cleanly and was a good partner.

I find that a Balanchine ballet -- well danced -- has the power to transport me the way great paintings and great literature do. It can be a very magical world at the New York State Theater -- at least it's been that way for me for 35 plus years. The thread on quality of NYCB has made interesting reading. I find that it all comes down to how well these these wonderful ballets are danced. Over the years (and, yes, even while Balanchine was alive and well) there were many sub-par performances. The quality has waxed and waned over the years. Right now I'm looking forward to a glorious period for NYCB because of the high quality of dancers there now.

Thanks so much to all the Washingtonians for posting. Your comments extend NYCB's season for me. I am glad that Meagan's and de Luz's debut in T&V went well. I agree with the posters who say that it will stretch her and tone down de Luz as a showboat. Someone mentioned in fact that they would like to see de Luz as Apollo, but that idea was "pooh-poohed" as miscasting by another. I would like to see him try it. This brings to mind a rehearsal I saw in which Balachine himself was giving an on-stage solo rehearsal of Apollo to Jean-Pierre Frohlich -- another smallish male of the deLuz type. I was sitting in the orchestra at the time. At one point Balanchine was correcting Jean-Pierre on a certain combination of steps. Jean-Pierre said something to the effect, "Nobody told me to do it that way." To which Balanchine replied: "Nobody told me either." It is a moment I will always treasure. By the way, Jean-Pierre was too involved in getting the choreography to realize what Balanchine had said. Just thought I would add that here. And, no, I do not think that de Luz would be miscast as Apollo at all.

Ashley Bouder debuted on the stage of the New York State Theater last night as Liberty Bell in Stars & Stripes. (The replacement was due to illness; Alexandra, please get well soon.) Finally, Ashley had a partner tall enough and grand enough in his own right to match her in bravura style and to show her off: Damian Woetzel. It was just about perfect debut for Ashley: everything worked, no unsteadiness, just lots of raz-mataz that S&S called for. Both she and Damian were brought back three times after the curtain call. But special mention should go to Daniel Ulbricht and all the Thunder and Gladiator regiment. Although the focus may have been on the principals, the Third Campaign almost stole the show. Led by an incredible Danny, the male corps just ignited themselves into a dancing "frenzy" and did all this great male choreography cleanly and with great bravua. Danny's future is limited only by his height. But, hey, how about that comer Ana Sophia Scheller? Let's match them up and see some fireworks.

Now that Ashley is doing S&S I will just have to attend the NYCB evening performance after a Met Pelleas matinee. The last time I saw her do S&S was at her SAB Workshop performance in spring of 2000 (with just a little S&S snipet (the pas) at the Wall-to-Wall Balanchine event at Symphony Space last March).

Michael's lament about lack of audience reaction after having been so moved by a performance brings back a memory of a Saturday night back in the 70's. The program was Square Dance with Merrill and Bart, followed by Baiser de la Fee with Patty and Helgi, and then capped by Chaconne with Suzanne and Peter. So it was a night of one masterpiece after another danced exquisitely by the "stars" of NYCB. The audience reaction was polite, subdued and more along the lines of Farrell Fan's and Carbro's recollection of the more-often-than-not tepid NYCB audience reaction. I remember it so clearly because many of "regulars" -- including me -- were in ballet heaven. The following Monday I asked someone I spotted in the audience (a lawyer at the law firm where I work) what he thought of the performance, assuming he too would be raving about the evening. His response: "All the ballets looked the same." Well, I was astounded that an intelligent person could have such a reaction after seeing some of the best that the performing arts world in the 20th Century had to offer. So I learned years ago not to get too upset one way or the other about audience reaction. And I have learned also that sometimes it's the quiet audiences that come back and back, and the loud demonstrative audiences (i.e, for Bocca this season at NYCB) who we will never see again!!

I was at yesterday's matinee and got a second viewing of After the Rain. While I see how well-executed it is, I just don't "get" it yet; in fact, I found it a little plodding on the second time around. But I'm very, very pleased for NYCB that it's such a hit. Orpheus, for me, is a ballet that needs deluxe casting to pull off, i.e., but that wasn't the case yesterday. The highlight of the afternoon was for me the Who Cares. Although Alexandra was out (due to illness the insert said -- and I wish her well soon), we got Sofiane in her place. What a joy it is to have a real ballerina in the company. She just sparkled!! Baby blue is definitely Sofiane's color!! The other two principals were Ashley Bouder and Jenifer Ringer. I would have preferred that Ashley take on Patty McBride's role rather than Jenny. Although I much admire and enjoy much of Jenny's work, she is basically a lyrical dancer. The Fascinatin' Rhythm was really "bent out of shape" (for lack of a better description). I'd really like to see Ashley in that role, as I see her as the Patricia McBride of the early 21st Century. She has all of McBride's qualities (the sheer joy of dancing and the ability to convey that joy to the audience) and then some (an innate musicality and sense of phrasing). One last comment on Who Cares: Kudos to Kyle Froman, Henty Seth, Jonathan Stafford, Sean Suozzi and Andrew Veyette. I've been watching this ballet since its premiere. The male corps has just come into its own in this ballet without it being a white-knuckle experience for ther audience.

In my initial post I only went out of my way to single out Ashley, but I just want to express how happy I am with both Janie and Megan. My main criteria for dancers is that they make me see the music, and both Janie and Megan fit the bill. These two dancers grow right before your eyes each time you see them. Megan in particular has a very good technique and gives 100% in performance. It's easy to forget how young she is because her performances are so very polished. Her Square Dance was terrific.

I'm thrilled, thrilled with all of the promotions. But especially with Ashley Bouder's. In yesterday's matinee she was the second in La Source, but she was the one who took my breath away. (I kept thinking, now if only Ashley could get the lead. . .) And Tess was simply superb in yesterday's Agon -- another dancer you can't take your eyes off. Break open the champagne!!!

Michael, thanks so much for your great review. I too was there and will just add a few comments after a great night at NYCB. At the top of the list are Sofiane Sylve and Peter Boal. Sofiane was just extraordinary. She brought to mind Gelsey's ability to bring both crispness and lyricism to this role. There is one particular moment in T&V which I always look forward to: those little leg beats that the ballerina does during her variation. (I believe they were added for Gelsey). In any event, they were back and done incredibly cleanly. I hope all the male corps were watching Peter Boal last night. He was just superb. It was male dancing at its most elegant. I too liked Megan in Square Dance, although she is a cautious dancer. I think it may take an Ashley B. to bring back the heart-stopping style of Merrill in that role. But Megan gave a very satisfying performance for a debut.

May I second Carbro's advice? It was a historic night at NYCB: a Ballo with Ashley B. is not to be missed. It's been almost a quarter of a century since we've seen a Ballo done "right." Ashley Bouder nailed the role first time out. She even brought back the famous grand jete with backbend that was Merrill Ashley's trademark --and that only Merrill managed to do -- until last night. Of the demis, I particularly liked Sterling Hyltin for her instinctive way of attacking a musical phrase, Ana Sophia Scheller for her stage presence, and Amanda Edge for making very credible snapshot pictures of those diamond pas de chats that were Sheryl Ware's creation. And Benjamin Millepied I think may have given his best performance ever: not only bravura in his own dancing but he was very attentive to Ashley. Unlike Carbro, I did sit through another Stabat Mater just to get another glimpse of Sofiane Sylve and Charles Askegard in Cortege. Both were fabulous and gave first rate performances. I have a feeling Mr. Balanchine was smiling when he looked down to see Sofiane's dancing, as he always had a soft spot for French ballerinas, and Sofiane is indeed a real ballerina. (I'm looking forward to her T&V.) Special mention too to Dana Hanson for some lovely expansive dancing in her variation.

Thank you, Carbro, for your report. I had missed all of Ashley B.'s SPFs. I only saw three of her Dewdrops, all of which I thought were extraordinary. She has such a secure technique that you can see her "playing" with all the usual dramatic phrases in this solo. She's the kind of dancer where -- after all these years -- she makes me hear new things in the Waltz of the Flowers!! She's just explosive, and the Nutcracker audience responds accordingly; they may not be the usual ballet audience, but they know when they've seen something terrific. And good news about Ana Sophia. I had only seen her at the Workshop and some other SAB events. She may turn out to be the Verdy type of dancer: lots of drama and personality in her dancing. Time will tell. By the way, I was glad to see in the most recent SAB newsletter that "Kaitlyn [Gilliland] is slated to begin her NYCB apprenticeship in 2005." Folks, we may be looking forward to a great crop of NYCB ballerinas very soon!!

Just a quick note on Saturday's matinee. The highlight for me was the beautiful execution of the T&V by both Michelle Wiles and David Hallberg. Both were clean in the details of the choreography, danced with the requisite elegance and authority that's required, and exude musicality. What a pairing these two make!! And, yes, the other highlight was spotting Monique in the Sinfonietta. Amid the two zillion grande jetes which seem to make up the extent of this ballet, it was so nice to see Monique do them so effortlessly. It was nice to see Spectre again, and Herman did very nicely, in the demi-character mode. I guess I just prefer a more classically danced (even if it's not the way it's supposed to be) rose.

Ari, I was surprised by Ashley B.'s casting in the pas de trois in Emeralds, but any glimpse of her dancing makes me happy. It will be really interesting to see how she handles this type of ballet. We know she can do the "gut-crunchers" but Emeralds -- my most favorite part of Jewels -- requires its own special "perfume." Wish I could be there myself, but it's a Thursday . . .