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My two cents -- Serenade - When is Darci going to retire?! Ditto Yvonne? Both were brittle, creaky, very much lacking in physical execution needed for this lush ballet. Instead we were subjected to overly done acting/mannerisms which is not the style of this Balanchine ballet. Kaitlyn Gilliland, new to the dark angel part, was overall very good. She understands the part and dances it well, but there were some overly done mannerisms there too that ought to be toned down or turned off completely. One does not need to lather on extras to this ballet of already choreographed dramatic beauty. Mozartiana - danced beautifully by Benjamin Millepied. It was fantastic to see all of the steps once again which he did so clearly and strongly. Millepied also had a cool, elegant, easy presence which complimented the music and style of the ballet. Wendy Whelan, always interesting, was unfortunately starting to look a bit too creaky. I found myself remembering her performances past that were far better. The four big girls were suppose to be just beautiful in relating, dancing together. A conversational quality too. But that takes a chemistry that wasn't there this season except in Dena Abergel -- one could watch her alone and be satsified. The foursome is definitely lacking three other charming, womanly beauties... TP2 - I'll add my bravas to Tess Reichlin's command and presence, and musicality -- and her gorgeous, huge lines. I thought this was a fine debut for Tess that started out tight and tense with nerves, but quickly warmed up, loosened up, to a beautiful, elegant performance. Tess and Jonathan Stafford both have this cool youthfulness to their fine techniques. Reichlin has some work to do on this ballet, but I think rather quickly she will become the ballerina to give this ballet it's daring, technically striking, yet lovely, regal quality. And over the weekend, I couldn't resist seeing Raymonda Variations one more time this season. Saturday night's performance with Megan Fairchild and Andrew Veyette in the leads. Also the same four soloists, three of whom were beautifully amazing in their difficult solos and coda! Sara Mearns, Tiler Peck, and Tess Reichlin. Tess already seemed to be a newly inspired dancer from her wonderful debut in TP2 the night before. All danced as well as I have ever seen them, and especially Megan and Andrew. Megan seemed to have found a new joy dancing this role. It is full of feminine charming style now where it once was just clean technique to marvel at. And Veyette has improved greatly with confidence and strength, no small part due to having danced *all* of the Raymonda Variations this season - full of very demanding male partnering and solos. He has had two different partners this season, Bouder and Fairchild, in Raymonda, but the male lead was his alone to learn from and enjoy. Bravo to Andrew for making each one better than the one before!

Thanks DRB for your lovely, detailed review. I was there too, and agree with many of your comments. I was sitting very close to the stage, so I thoroughly enjoyed watching Raymonda Variations from such a close perspective, and was especially wow'd by the two big-girl soloists who came flying (jumps) out of the wings during the coda. Then they kicked (fast developes) their long, big extensions and began a series of fouettes, right next to each other. What a thrill! Both Reichlen and Mearns, as these soloists, had the strength, speed and confidence (and experience) to dance this demanding ballet with beautiful comfort and risk taking. Ashley Bouder, partnered by Andrew Veyette, was also at her best. I agree, I thought she danced it far better this time than last year. It was quite thrilling with luxurious, solid balances and expressive arms on top of bright, brilliant technique. Veyette has a way to go still before he is anywhere near her match, but he did an excellent job, also better than last year. I especially loved how Veyette had to adust his stance at the very end of the ballet when Bouder dove into his arms, towards the floor, and towards the audience, right near the orchestra. Bouder had so much momentum and fearless abandon, that they both could easily have landed into the orchestra pit. And that's exactly how that dive is suppose to look. Exciting, thrilling, far from safe. I must see this all again over the weekend, it was that good-- I also loved Tiler Peck as one of the soloists in Raymonda. She has effortless, bright technique with a joyful, musical ease to every role she takes on. The Steadfast Tin Soldier was far more than I was expecting with heartfelt and charming performances by Megan Fairchild and Daniel Ulbricht. Danny especially showed us a gentle soul, and sad sweetness, that gave his soldier a quality I hadn't seen before. Danny is never one to skimp on jumps and turns either, but in this ballet, his big, generous heart filled the stage in a role that can instead be awfully coy. Danny made me think of how wonderful he would be in that rose lead of Invitation to a Dance... one day perhaps.... Back to NYCB.... I'll skip The Nightingale and the Rose (Wheeldon's) which made a long evening far too long. Wheeldon's could have easily been cut and I wouldn't have missed it one bit. Was sorry to hear about Maria Kowroski being out for the rest of the season. Darci Kistler was a poor replacement. It's becoming almost embarassing to watch Darci dance anything these days, and she did very little but distract in Davidsbundlertanze. But debuting Janie Taylor was hypnotic. It's difficult to watch anybody else when she is on stage... Strikingly beautiful, her own other worldly style. Janie is completely at home in this ballet. Sara Mearns in Kyra's former part also danced dramatically with generous, lush movements, as drb said, "emotional." I'd go see both Janie and Sara again and again in this ballet. It'll be interesting to watch what they learn along the way as they gain more experience in these roles. Though I've seen this ballet many times, I have never stopped watching in awe at Balanchine's complexity (yet simple looking) choreography.

Oh, and Western, yep, it's not at its best these days... though I most enjoyed watching some in the corps during the first two sections.

Leigh, Mary, I have to agree with you about Prottas, in that he didn't look Danish one bit. But that's what I liked about him!! Then again, I've always hated the super sweetness and reserve of Flower Festival... I'd much rather see Prottas' talent used elsewhere. I wish they had put him in Tchai Pas, or Square Dance, or Theme, or Fall of Four Seasons!! But FF was the important debut for Prottas this season. He needed to make a big impression. And he did. Prottas showed he could handle lots of pressure. He showed he could surpass technical expections. He showed he could deliver a style fit for this generation, and different at the same time. And all of that is going to push Prottas forward at NYCB big time. Btw, if you missed it, Prottas was far more elegant and relaxed in Gentilhomme. Which showed me that he knows not all ballets are the same.... He's so young, I wonder if he has ever seen any Bournonville... Career-wise, I think Sunday was far more important for Prottas to show his flashy best than his Danish training, if any. And, yes, it was not at all Hubbe's best dancing ever. I don't think a last performance should be.... But we ran to see Hubbe's anyway, because of his full-hearted presence, attack, joy, passion, generosity, sexiness, meaty-masculine sensuality, playfulness, and golden-handsome looks, one more time!! And send him off with all of our gratitude. Did I leave any adjectives out??!!!

What a very happy, full of tearful joy, day for Nikolaj Hubbe and friends. Among dozens and dozens of former and current NYCB dancers, fans from everywhere too (too many to name) that included Marcelo (ABT) and Misha. It was the party of farewell parties with lots of fabulous dancing too!!! It all went by so fast... I loved all of the pieces and partners Hubbe selected(?) to join him on stage. Especially Mr. B's Western Symphony and Martins' Zakouski. Nobody, and I mean nobody, will ever come close to topping Nikolaj's performances in those roles. I was in tears for most of Apollo watching Wendy Whelan and the other muses as they led Nikolaj towards the future. Then more tears, as you saw the heart-torn bows, all of the bows for each ballet, all showing how much his partners have loved working with Nikolaj, and he with them. Then there was the delightful treat of Flower Festival with Morgan and Prottas(!!!!). I expected brilliant technique from him, but WOW! He also not only nailed the huge jumps and creamy, balanced-lots-of-control-needed turns (versus just whipping into them), but Prottas also has a flavor all his own, intense, kind of Russian, kind of Cuban, with the flare and cleanliness of SAB training. I was expecting clean, but I wasn't expecting his variety of intensity. Prottas is an unusual dancer for NYCB, not looking all-American whatsoever in his style. Definitely an original. And I can't think of anybody better suited, being so strong and masculine, and fresh with brilliant technique, to soon take over some of Damian's full-of-tricks roles. Morgan was sweetness and grace and ease, but didn't quite match Prottas' full-of-surprises performance!! But back to Nikolaj who was and IS a divine one of a kind. So full of life and passionate, generous love that shines in his dancing and personality always. It was an afternoon of great joy and great memories.

2/5/08 Performance Both sections of Double Feature could use a bit of cutting.... and improvement in the use of *balletic* choreography.... especially with Blue Necklace.... Makin' Whoopee's choreography much more suited each person and added to the story. Blue Necklace had more uncomfortable choreographic moments with many repeating steps that looked so difficult to execute but had little purpose in the story line or character development. The dancers did their best however with what they were given to do. I especially loved Skyla Schreter as the Young Mabel. Her technique is so advance for such a young girl (at SAB, looks about 12 or 13 yrs old), and her style is already that of a youthful, high-energy, joyful Kirov ballerina with a few touches of Suzanne Farrell mannerisms. Quite a combo!! I hope Skyla is just beginning a long, wonderful career at NYCB. Sterling Hyltin did an excellent job as well, last night, as the older Mabel, looking very much as if she could be the daughter of Maria Kowroski's mother role, as well as Skyla's matured version. Each of the three had gorgeous, long lines and were physically fair, with delicately lovely, features on top of their very feminine dancing. Also loved Tiler Peck in Makin' Whoopee! Tiler has all the genuine warmth and beauty of a young Kyra Nichols, while she amazed us with her own musicality/acting and technical talents especially every time she executed some pirouettes. They were breathtakingly secure. Of the men, I thought Amar Ramasar as Joe Doherty and Robert Fairchild as Edward Meekin made the strongest impressions with their excellent acting and dancing in Makin' Whoopee. Their parts required some very difficult male technique while disguised in story telling; at one point male ego with lots of self back patting over a decision agreed upon. Bobby Fairchild's double pirouettes into double tours (en l'air) alone, at least three or so times in a row, were balletic male confidence to the extreme. Tom Gold was also impressive as Jimmie Shannon, a man who has terrible insecurities and cold feet over proposing marriage to Tiler's character. Then suddenly because of a Will's direction, Gold must marry immediately to earn his inheritance. Gold seemed to be having the time of his life portraying this funny character who doesn't want to grow up. Benjamin Millepied was the matinee-idol father, Billy, lead in Blue Necklace. And although he danced it very well, technically, Millepied didn't carry the acting part of his role well enough to create that special comic surprise while dancing with Megan Fairchild's Florence, as she's pretending to be Mabel for money. I've seen Megan almost steal the show when working her acting magic with Damian Woetzel... but that magic/connection/chemistry didn't quite happen last night with Benjamin.

>So far I've not seen a review in the local papers of Mr. Ulbricht's >Prodigal Son, yet many of us seem to have found it a very >special event. Alastair Macaulay was at Tuesday's performance...Maybe NY will get a review from him tomorrow.... In the meantime, check this out, Anna's review of Ib and Suzanne: http://query.nytimes.com/gst/fullpage.html...;pagewanted=all Back to Sirens of yesteryear.... I can well imagine Diana Adams as the perfectly cast Siren!! What a line up too, the others named as Eddie's Sirens!

Unfortunately, I don't think I have seen Villella in Prodigal Son. But from knowing Eddie at NYCB during his later career, I can well imagine his intensity, powerful athletic ability, and drama. Who was/were Eddie's Siren(s)?

I too saw Daniel Ulbricht make his debut on Sunday matinee in Prodigal Son. Wonderful on many levels. Technically, Danny was beyond anyone I've yet seen in the role, with the exception of Mikail Baryshnikov. The audience gasped over Danny's jumps, turns and rebellious, youthful-faced, Son energy. Acting wise, Danny was quite excellent too, and in time/experience I'm sure he will further explore this role and its music. Danny's Prodigal is already a huge success! It was so great to see him finally take on such a big role. I also saw Danny's (with Tess Reichlen's) second performance of Prodigal last night. Just as exciting as Danny's first. And Tess was much, much improved over her debut last Sunday. I suspect, for her premiere, she looked it, Tess was extremely nervous, and/or felt under rehearsed.... and the sexy, evil, seductress, Siren is not a natural role for Tess to begin with... but she was, last night, coldly evil enough and beautifully seductive enough to make her role believable and stunning to watch. Then there's her difficult costume to manage, eg, that huge, velvet cape and her very tall hat. There is quite a bit of tricky partnering involved too, but by performance two, last night, Danny, Tess and props worked well together. Square Dance, on both Sunday's and last night's performances, was brilliantly danced by Megan Fairchild and Nicholai Hubbe, although Hubbe got a bit too wild with energy last night -- understandably, as it was his last Square Dance with NYCB. Overall, Nicholai, as always, was a very handsome, meaty, sexy, a large in style mover to Fairchild's petite stature, technical perfection and lovely, sprightly joyfulness. Not a pairing I'd select, but somehow it worked, definitely bringing out the best in Megan. She has improved a lot in her delivery of Square Dance this season. She now shows the audience how much she loves the challenges of this ballet. The corps was for the most part, also excellent with sparkling, beautiful execution. Four Seasons was as always such fun, as the closer ballet for Square Dance and Prodigal last Sunday and last night. I especially loved three of the four frogs, string beans, whatever you call them, the male soloists of Spring. TAngle, Danchig-Waring, Austin Laurent, they were so striking and awe inspiring with one breathlessly gorgeous (line and height) jump after another. The fourth guy, was more the runt of the litter and didn't belong in this fine group of men. The principals and corps of Four Seasons were all fascinating to watch, such diversity, although Ashley Bouder seemed the most confident with her double fouettes (I think about 7 in a row) along with her overall daring, flashy approach to Fall's technical and *star* demands.

>...several of us felt that Ana Sophia wasn't able to complete >some of the movements, especially when travelling. Yes, I know what you meant there. I also missed the huge Kitri jump... Scheller did it well enough, but I sense, that if the tempi had been more danceable, she would have made it much bigger. Btw, I rarely go into too many details on BT because then.... well, my comments would easily become a 4-page bore.... (to me as well). >What really bugged me about the conducting was that he >seemed to slow down for the soloists and the corps!! Yes, it did seem that way, although I thought the tempi for the jumper soloist, Dronova, that night, was as fast as I've ever seen it done. Although I am not at all a fan of Dronova, I had to admire how quickly she was able to get into the air - in that oddly angled grand jete. The other soloists had, as you said, better tempi. >Carmena was bright and all smiles in his dancing... What I noticed most about Carmena in Les Gentilhommes was that he wasn't smiling as much as he usually does.... I liked that he showed us a more elegant and meaty, serious, classical dancer in Gentilhommes. We usually see him in very different parts as cast by Martins/Robbins Trust. I've always suspected that Carmena is capable of more. His technique is one of the best at NYCB. >But my heart belongs to Sean Suozzi -- his proportions >and execution are so beautiful to me. I am very fond of Suozzi as well, but I didn't think Gentilhommes, with the men in white tights, flattered some of Suozzi's less than gorgeous natural lines. And he tends to have a bright, high energy attack which doesn't work in Gentilhommes. Suozzi looked to me as if he was holding back on his natural style in order to blend in with the other men of Gentilhommes and that didn't quite work for Suozzi. I'll agree, he is extraordinary in many other ballets. >...flashed my old trusty NYCB brass ticket key ring with >the date "January 22, 1984, seat number > A101 in the >first ring. I look up at that seat often when I'm attending NYCB performances... p.s. Oberon, nice to see your post on BT again...

January 22, 2008 And where else would I have been on the anniversary of what would have been Mr. B's 104th birthday?!! While I agree with ViolinConcerto, that the guest conductor, Sills, took Ballo della Regina into speeds that were ridiculous at times, I thought Ana Sophia Scheller did a beautiful, feminine, strongly-excellent technical job. She executed everything very fully, including the faster than heck pique turns into arabesque plie, three in a row before a breath can be had. There are no triple turns choreographed for the female lead (unless partnered). The only moment where Scheller seemed a bit tight was at the end of Ballo, when the few fouettes were executed right next to the orchestra pit, center stage. Choreographed that way, yikes! Merrill Ashley used to do them turning inside (good grief!). Very difficult to do, but there was less momentum involved than with the ever-popular, outside, whipping turns everyone does these days. Yes! I too caught Scheller's jaw-dropping, gorgeous develope a la seconde. It began plenty high as a held extension, but then Scheller took advantage of the slower music, the opening brief adagio, and let her already high develope bloom even further (upward) with lush style! I hope Paul Kolnick got a few pictures of that!!! Wow! As for the fast-allegro, jumps, turns, of Ballo, I thought Scheller handled them all with a warm, feminine maturity. Of course, if the tempi had been a bit slower, Scheller would have enjoyed herself even more.... ditto the audience.... But this is already an old record.... Perhaps Scheller didn't receive the premiere she deserved, but she was most certainly an outstanding, fine principal dancer last night. (Her current rank in the company is soloist). Gonzalo Garcia seemed comfortable with the technique and manner required of him, but he also looked a bit sloppier overall than I recall when he debuted in Ballo at NYCB with Lorna Feijoo (the womanly powerhouse from Boston Ballet, Nat'l Ballet of Cuba). I think Garcia's style will improve with the seasons ahead. It takes time to get used to the rushed rehearsal schedules (and tempi) at NYCB.... Liturgy was as good as ever as a showpiece for the extraordinary Wendy Whelan. Les Gentilhommes I thought looked better than ever with the return of Adrian Danchig-Waring and the debut of David Prottas. Prottas is regal, a cavalier in style, masculine, with a gorgeous, clean, strong technique. Danchig-Waring - I've always enjoyed him for his big-mover style. He's a meaty guy with a touch of feminine lushness. Tough to describe, Adrian has a bit of Bejart in him, and I love that. Tyler Angle and Antonio Carmena were also dancing with their usual handsome styles and beautiful lines/jumps. I'm not so much a fan of Peter Martin's ballet, Gentilhommes, as I am a fan of watching nine of NYCB's best male dancers, all at the same time, performing big, classical, lanky, masculine movements.

>I thought Benjamin Millepied was not up to their standard: >he seemed a bit off the music, a bit hesitant about the >bravura sections. Friday's (1/18) was a thin, re overly fast conducting, dress rehearsal in comparison to the beautiful, full performances by all on Saturday night (1/19), including Millepied's suave and technically elegant presence in Four Season's Autumn section.

Of course, we all understand how busy the Tencers must be preparing for this event. At the same time... Well..., thank goodness for BT--

Marga, Thank you from me too -- for looking into this and getting the correct info. If they can send out a press release, they certainly can spend five minutes changing a couple of casting names on their website. Tisk. Tisk.

Good catch!!... especially for those of us who didn't want to buy tickets after reading on BT that Osipova and Vasiliev would not be performing... If they are dancing, I'm running over to the box office today!

Well, we can all agree about Ashley Bouder tonight in Rubies!!!.... She was A+ excellent, with the good fortune of Kaplow's fine conducting and Millepied's attentive partnering. Bouder was technically brilliant with electric jumps and turns galore. I even noticed that her grand battement extensions have loosened up allowing some very striking lines during the playful pas de deux. This on top of her individual power-house, very musical dancing, Bouder was especially flashy-sexy fun. It seemed as if she couldn't wait to do this ballet... and finally got it. So, if you get a chance to see Bouder with Millepied (or Woetzel) with Kaplow's conducting, where the dancers can dance everything to their fullest, don't miss it. BRAVA!!!

Nobody else here saw Sara Mearns last night as the principal lead in Diamonds?! Her debut was intense with concentration. I wondered if Sara had had much time to learn the ballet... Anyway, she was beautiful and did a strong, lovely job of it. Her partner J. Stafford was very impressive as well. Both dancers were lush in movement, having earthy elegance in style, and in time will probably bring more of their personal selves to the details of these parts. This was a fine beginning. And with many, many thanks to the conductor, Maurice Kaplow, who made the entire evening a wonderful joy.

You are probably correct. Thanks for the insight. Yes. Sorry to be late in replying. I meant Peter was in my mind, I kept thinking of him.... Peter never danced this ballet. He's the choreographer.

Of all the current ladies at NYCB, Bouder is the most suited for the *sometimes* circusy nature of this ballet, Ballo. The music is light, bubbly, and the piece comes across as an appetizer rather than a full ballet. Bouder started off with lovely grace and warmth, but quickly forgot that soft, beautiful femininity along with strong, stunning leg work is what wins the audience. Bouder was too punchy 99.9% of the time. It's lots of fun to watch strong, high-energy technique, but Ballo needs beautiful style too. Most general audiences don't understand how difficult Ballo's technique is, and I think that's why they, last night, didn't respond with more gusto. General audiences, I think, respond more to the beautiful types, eg, Morgan, Scheller, and beautifully moving or dramatic music. But I loved Ballo -- it's a short, fun ballet, and I really loved Katie Morgan as one of the demis. She has the easier solo (actually 2 1/2 solos), but danced both with much gorgeous, calm, womanly glam. In Nuts, Morgan was often kitteny and pretty. Then last night in Ballo, she came alive with a new burst of mature confidence and radiance. Wendy, on the otherhand, was an exotic creature of jaw-dropping, extremisms, rather than glam, in Liturgy. Wendy has such extreme range and flexibility with her stunningly long, sculptural legs, and arms, and she knows exactly how to make these contemporary pieces (pretzel pas) fascinating on her. Wendy has such a unique body to begin with, and when it is barely covered... you can see every fine detail. Added of course, was the usual darkish lighting and haunting music. All very moody indeed.... and in this atmosphere, Wendy is mysterious, as well as soulful and deeply genuine. And that's why the audience went wild for her. You couldn't turn your eyes away... and Liturgy was just long enough. The guys in Les Gentilhommes were excellent. One better than the other, all long limbed and big movers. Laurent replaced Danchig-Waring, and I was at first very disappointed about that.... but Laurent (will need to gain body weight) was quite elegant in style with a technique of huge jumps and movement lines. I spotted Laurent in Nuts' Tea in December and thought the same. He's very talented. The other outstanding men were Carmena (really fine, the best actually; why isn't he used more often??!!!) and TAngle. Carmena and TAngle had the right feel of the music with no difficulty or strain in executing the tricky technical challenges. The feel of this piece is a bit melancholy, serene, with lanky male technique. Lots of Peter Martins' style (as he once danced) in this ballet. I kept seeing Peter (in my mind) as the perfectly cast lead man. It was rather sad to see Ulbright attempting the lead, because unless he is jumping, turning and dancing at break-neck speed, Ulbright looks much less clean and interesting in line. Not flattering with the long-limbed, taller guys all around him. Ulbright looked uncomfortably cast, but did a professional job. Fancy Free did not appeal to me last night, after seeing one too many during ABT's Fall season, so I left NYCB for the opening night party at Cedar Lake. A full night--

Canbelto, Thank you for your detailed review. Did you see Martins' R+J during its premiere dates? I'm wondering how this season compares.

>...much sorrier that Hubbe's leaving. He was the most >exciting dancer... And Nikolaj Hubbe showed us last night in Zakouski how very sorely he will be missed at NYCB. A strenuous pas de deux, with lots of tricky partnering, Nikolaj performed his part in top form with all the high energy, sexy, masculine power he is well known for. NYCB's Elvis, many of us say... Sofiane Sylve having left NYCB was devastingly bad news.

Agreeing with Bart... And just wait until you see the overall look of these photos, in large poster-size, at the State Theater. The dancers look so cold and plastic, IMO.

Violette Verdy and Mimi Paul in Emeralds made that ballet a dreamy, sexy, warm, womanly heaven. I'll never forget their performances....Talk about hypnotic! Sarah Mearns, who danced the Mimi Paul part last night, has a lot of potential in the role, but last night she started off a bit tight and tense in her solo, but warmed up her sensual side in the famous pointe-walking pas de deux. Warming up....was pretty much the theme for most of the lead and demi dancers last night....On the whole, it was an ok dress rehearsal.... with no thanks to Karoui who conducted far too fast -- which made most of Jewels look rushed when it should have been voluptuous. (The entire performance ended 15 mins earlier than usual.)

I was there too, the first Jewels of the season. Definitely say something to Peter next time!!!!! I thought Tess Reichlen was the star of the night (with the exception of a few wonderful, hunky, handsome men in the demis and corps parts of Diamonds, esp TAngle, Paradiso, D-Waring.

Wednesday Matinee, December 26, 2007 Erica Pereira's 2nd Dewdrop was a breath of sunny, spring air. Light, pretty, delicate and so lovely. Erica was all sparkles and radiantly fresh while taking on every technical demand with complete ease. She's quite special with her combo of long legs, long arms, petite, graceful build, and excellent alignment strength on top of her youthful energy. By alignment strength, I mean to say that I've known very few dancers who could execute big jumps (grand jetes, stag leaps, stag pas de chats) as easily, and as similarly, to both sides (taking off with either the left or right leg). Erica seems to have this perfect alignment which only adds to the pleasure of watching such a natural dancer without visible nerves. Doesn't hurt that she's also an excellent turner. Erica is all pure joy without any affectation at this point. Agreeing with Carbro, I'd also like to see her now take on a bit more risk in the future.... although I did see that quality in her Marizpan just recently... So, it should be wonderful watching Erica mature in the coming years at NYCB.... I'm already thinking of some roles I'd next like to see Erica learn from: Aurora, Square Dance, Afternoon of a Faun(!!), Ballo(?!!). And speaking of young dancers still maturing at NYCB, Sterling Hyltin did a beautiful performance today as the SPF. She often can be tense and full of nervous energy, but today Sterling looked completely happy and relishing every minute of her role. Nerves barely there. And when Sterling is comfortable, she shows a special gift of being very spontaneous with her musicality. Today's performance was a fine example of that. Her partner for the grand pas was Bobby Fairchild; a handsome, attentive cavalier. But most striking of the men today for me was Vincent Paradiso. He danced the all too brief solo of toy Soldier in Act 1. Paradiso is amazingly strong and manly with huge jumps, a strong, muscular build, and a warm sensuality that could not be hidden with all that doll makeup and doll acting.