Royal Blue

Although the choreography in Program D of the Ballet Festival on Friday night was of variable quality, there was much of musical interest during the evening, a greater consistency of tone than in the previous program, and all four dancers—Sarah Lamb, Edward Watson, Robbie Fairchild and Maria Kowroski—excelled in their roles. The three-part Cristaux presented after the intermission was particularly engaging, and offered Lamb the opportunity to cap her enchanting work during the past two weeks with a dazzling performance.

What a haunting, powerful performance of Maurice Béjart's somber Song of a Wayfarer by David Hallberg and Joseph Gordon Tuesday night at The Joyce Theater! Marking another milestone in Gordon's blossoming career, it was exceptionally intense and poignant. At its conclusion, the audience applauded warmly, but not in any unusual or excessive way. However, after the curtain came down for good, the applause remarkably would not cease for a considerable period. Although the two dancers did not take another bow, they came out on stage a little while later—In their regular clothes—at the end of the program. Kenneth MacMillan’s Elite Syncopations divertissement, a lighthearted yet thoroughly delightful ballet boasting some brilliant performances—including one by ABT’s Cassandra Trenary—incongruously followed after a pause, in the third program of the Ballet Festival, Béjart’s rigorous piece. Irrespective of what occurred with the audience’s reaction to Song of a Wayfarer, in this instance a second intermission during the evening seemed warranted.

Deeply grateful, above all, that the pas de deux from Concerto with Lauren Cuthbertson in the female role was brought across the pond. Moreover, I loved greatly Five Brahms Waltzes in the Manner of Isadora Duncan with Romany Pajdak, and Dance of the Blessed Spirits as performed by Joseph Sissens. In consummate alignment with the marvelous music and choreography, the set design, costumes, lighting, and color scheme enchanted in all three works. The outstanding performances of the four dancers I did not mention by name previously—by the order in which they appeared, Calvin Richardson, Sarah Lamb, Marcelino Sambé, and Edward Watson—made (together with those of Pajdak and Sissens) the other five items in the first program of the Ballet Festival more appealing. Three of these eight dancers from The Royal Ballet on this visit to New York are principals; the rest come from the lower ranks. What a hub for ballet must London be right now!

Watching the pas de deux from Kenneth MacMillan's Concerto performed by Lauren Cuthbertson and Nicol Edmonds as the third piece in "Program A: An Evening of Solos and Duets" further validates my unshakable belief in the importance of seeing ballet live. Showcasing incredibly gorgeous lines, Cuthbertson looks stunning in person wearing the orange tunic costume, and dances magnificently. Having become familiar with Shostakovich’s Piano Concerto No. 2 in F major by attending numerous performances by NYCB of Ratmansky’s Concerto DSCH, I consider the Andante—performed solo here by one of the Royal Ballet’s pianists, Kate Shipway—among the most hauntingly beautiful music ever created. Of course, one must see Concerto in its entirety before making comparisons between the versions of the two choreographers. Without a doubt, however, there are different ways to successfully choreograph ballets to great music, particularly if not commissioned. (Interestingly, MacMillan used this work by Shostakovich in 1966, only nine years after its composition.) Although extremely impressive in all four pieces he appears in, Joseph Sissens amazes most in Frederick Ashton’s splendid Dance of the Blessed Spirits, dancing to the sublime music by Gluck. Almost a sea change occurred in my reaction to Ashton's Five Brahms Waltzes in the Manner of Isadora Duncan over the course of two evenings. Perhaps I unnecessarily compared it to the extended, fabulous Dances of Isadora; nevertheless, on Tuesday evening Five Brahms Waltzes (about ten minutes long) seemed underwhelming. By contrast, on Wednesday it enthralled me with its own brand of exquisite if ornate beauty. As rapturously performed by Romany Pajdak there is a hint of madness in this dance—yet it is fiercely and thrillingly divine! The careful, wonderfully executed juxtaposition in dance by a soloist between beautiful poses on the one hand and rapid coverage of the stage on the other is always profoundly exciting. As one would expect with such an illustrious company as The Royal Ballet, all the dancers in the first program are indeed excellent. Nonetheless, it is not unusual for these kinds of programs to be of a patchy quality.

On Friday evening the program consisted of: Scotch Symphony; Duo Concertant; Sonatine; and Stravinsky Violin Concerto. The following night a performance of Valse-Fantaisie replaced the slot occupied by Duo Concertant. The casting on these two evenings, however, was completely different. Both the Saturday and Sunday matinees, on the other hand (the program: Stars and Stripes; Slaughter on Tenth Avenue; Tarantella; and The Times Are Racing), had the exact same cast, with one exception: Ashly Isaacs and Brittany Pollack switched roles in the last work. Yet, partly for the reasons mentioned by posters above, everything performed by NYCB over the weekend was hugely enjoyable. In a nutshell, the company ended its Spring 2019 repertory season brilliantly! Both Stars and Stripes and Slaughter on Tenth Avenue (superbly performed with Ashley Bouder and Harrison Ball, and Teresa Reichlen and Andrew Veyette as the leads respectively) benefited from their placement on the same program—they were more appealing in this context. Each had fit somewhat awkwardly on separate programs earlier. Watching Scotch Symphony, an enchanting work rarely presented, afforded considerable pleasure this season. Ditto for Valse-Fantaisie, which I was only able to see for the first time Saturday night, fortunately with the excellent cast headed by Indiana Woodward and Harrison Ball. Although the recent weight loss by Ashley Laracey is disappointing, her wonderful debuts in Scotch Symphony and Stravinsky Violin Concerto provided further proof of what an exceptional ballerina she is. Looking at the list of featured roles Ashly Isaacs has performed beautifully with NYCB brought back pleasant memories, so I obviously concur with all the praise for her accomplishments already offered by previous posters. Certainly it occurred to me that performing one last time a memorable part she has danced with unforgettable verve would be fantastic as a farewell. There is something I failed to realize though: at the end of The Times Are Racing her role makes a final entrance and hurries downstage left away from the others to dance a short but spirited solo as the music bursts into a thrilling climax—what a magnificent note to end a dance career on! Nevertheless, as long as the dancers in the roster are talented and remain enthusiastic, casting changes—unless they are egregious—will have little effect on Justin Peck’s “sneaker ballet”: I have now seen it numerous times with all sorts of them (Brittany Pollack has been fabulous in three different roles), and it never fails to thrill. In fact, it only gets better. Less than three years after its premiere, The Times Are Racing has proven the perfect closer on a program. All twenty dancers in the cast typically do outstanding work throughout. In this run the second segment with the sensational trio of Emilie Gerrity, Lydia Wellington and Indiana Woodward (along with Peter Walker) proved particularly mesmerizing—especially during the vocalized portion of the score. And a word about Unity Phelan’s mishap last Thursday in the Scherzo of Tschaikovsky Suite No. 3: her debut proper in that role four days earlier (on Sunday afternoon) was spectacular!

Given a talented group of dancers assigned the right parts, any minor flaws in the execution of the choreography during a performance of Dances at a Gathering—as those that occurred last evening—will have the commensurate consequence of dropping a bucket of grimy water in the middle of the ocean. Even though I had viewed it again spellbound just the previous night with the second cast and have now seen this masterpiece quite a few times altogether, the 50th Anniversary Performance by the first cast—made more moving by the appearance of Patricia McBride and Edward Villella before the curtain, and the presence of a couple (?) other original cast members in the audience—felt as if I were watching the ballet for the first time. Certainly not every minute in DaaG’s hour-long length is equally gorgeous; however, that is not unexpected—there are always climactic moments in a great work of art! Although not by any means its sole thrilling segment, the penultimate one set to Chopin’s Scherzo, op. 20, no. 1 (including the sublime, haunting interlude for the woman “in pink” and the man “in purple”) is one of the most electrifying in ballet. Variations in the precise way and degree of success with which any two individual dancers handle a particular role are inevitable, and opinions may differ. Nevertheless, from my point of view, there were no glaring issues with either cast during this 4-performance run of DaaG. As the woman “in pink” specifically, Lauren Lovette last night danced beautifully, and was as captivating and touching at certain instants as I have ever seen her. At both performances this week Megan Fairchild was the woman "in green", and Indiana Woodward the woman "in apricot".

Fifty years after its premiere on May 22, 1969 at the New York State Theater, Jerome Robbins' Dances at a Gathering is undoubtedly one of the most beautiful and affecting works in New York City Ballet's repertory. The simplicity and beauty of the staging, costumes, lighting and colors in this ballet make it, naturally, immediately attractive. Three features, however, are especially fascinating about DaaG. First, how brilliantly Robbins utilizes ten dancers only in what is an unusually long non-narrative ballet. (Partly by virtue of this, I believe, DaaG leads to uncommon reflection about the physical space of a stage, and how choreographers may use it effectively to achieve their artistic vision.) Second, the successful synthesis of humor and jollity in the work with moments of surpassing poignancy. And finally, the music. No matter how Robbins came to choose the 18 pieces used in DaaG out of all the famous Polish composer's piano miniatures, their arrangement always produces a powerful cumulative impact at the theater. “The ballet stays and exists in the time of the music and its work,” he maintained. It certainly feels that way: the ultimate glory of both DaaG and The Goldberg Variations, I would argue, is that they enable the sympathetic viewer—through the exquisite art forms of music and ballet—to establish some sort of longed-for connection to the past. In the two casts of DaaG this season there were no less than eight debuts (including the three in NYC). With two reprising their respective role at both performances, eighteen dancers participated in total—ranging from veteran principals and soloists to those recently promoted, in addition to a young member of the corps. Yet the performance by each cast was deeply moving, which speaks volumes about both the quality of the ballet and the talent in the company’s current roster. Particularly impressive was the wonderful NYC debut on Friday evening of Unity Phelan as the woman “in mauve” since that is a superb part and Sara Mearns is magnificent in it. Praise, of course, is certainly due to Lauren Lovette (in pink), Megan Fairchild (in apricot), Maria Kowroski (in green), Tyler Angle (in purple), Gonzalo Garcia (in brown), Aaron Sanz (in green) and Roman Mejia (in brick) in the first cast; to Sterling Hyltin (in pink), Indiana Woodward (in apricot), Ashley Bouder (in green), Russell Janzen (in purple), Anthony Huxley (in brown), Joseph Gordon (in green) and Harrison Ball (in brick) in the second; and to Lauren King (in blue) and Peter Walker (in blue) for their contributions at both performances. Also, to Susan Walters, the pianist.

Since Brahms-Schoenberg Quartet is basically new to me, I am familiarizing myself with its choreography. Why Sterling Hyltin would be dancing to the score's "Intermezzo" as opposed to its "Andante con moto" was puzzling. Watching her skillfully execute the role’s captivating steps during the second segment—after two more commanding turns, one might add, as the female lead in the sharply contrasting Symphony in Three Movements—cleared up the confusion. Whenever a corps member gives as bright and lovely a performance in a supplemental role as Emily Kikta assuredly did in the first section of the Quartet, it is only proper and just to acknowledge it as several posters above did. For me to notice everything that is going on with the corps at any given NYCB performance is impossible, and I certainly cannot vouch for the contribution of every single one of its members at all times. However, without in the least denying any issues, their work in general was essential in making last evening delightful. It could not be otherwise, since both ballets of the program heavily depended on it. (In "Tema con variazioni" Lydia Wellington as one of the demi-soloists was resplendent!) How incredibly demanding the choreography for the ballerina in the concluding segment of the Quartet appears to be! For Sara Mearns to "blaze" through it in such an extraordinary fashion and follow it after a short intermission with a stupendous performance in the wondrous, aesthetically dissimilar "Élégie" of Tschaikovsky Suite No. 3 attests to not only her remarkable ability, range and stamina, but her ardent commitment and passion for the art form. And to have this followed with as poetic, breathtakingly beautiful and stirring a performance as Ashley Laracey's in the equally marvelous "Valse mélancolique"! An evening at the ballet need not be flawless if it touches the soul as much.

Thank you for informing me about this documentary, which I intend to see at the first opportunity. Of course, you are absolutely correct about there being much to ponder here. My thinking is that the essence of a great work of dance—that is, its essential beauty—will always survive any changes in style that occur due to the passage of time.

I hear you, although I feel differently. To be sure, the stage during ballet performances is not the right place to hide the human body: tutus and leotards are by far my preferred costumes for female dancers. Nonetheless, my experience of watching NYCB has taught me the necessity and logic of balancing these with a variety of other costumes. (Those for The Exchange, for instance, added to that work's interest.) Obviously, no person is going to like every article of clothing they see, and certain costumes may not flatter individual performers. Still, Oltremare is a single dance work about a specific subject. At times, due to their bouncing dresses/skirts as they danced, one could even see the antiquated undergarments from that time period the women were wearing. There was hardly any harm in that! On the contrary, it added to the work's quaintness, and made one marvel at the extraordinary transformation society has undergone since then. What appeared like a strange wardrobe malfunction with Maria Kowroski’s costume in Diamonds did not tarnish the superb performance of Balanchine's glorious ballet Friday evening. Sunday afternoon's rendition was magnificent! For me, far from being a waste the performances this season of Oltremare with Kowroski and Tyler Angle provided a stimulating visual, moral and intellectual counterpoint to those of Diamonds.

Viewing a piece like Oltremare is not exactly what people have in mind when thinking of going to the ballet. In fact, it is a work of contemporary dance instead of a ballet, and it is surprising that NYCB has performed it three years in a row. Nevertheless, its subject matter resonates strongly with some in the audience and is ultimately part of the work's attraction. Even without other reasons, immigration was always and always will be a sensitive subject, since it reflects fundamental aspects of the human condition. Are not all human beings essentially journeyers—through the limitless dimensions of time and space—into the unknown? Due to vintage photographs, motion pictures, fictional treatments of the topic the massive wave of immigration to the United States during the late 19th and early 20th century—the time period depicted in Mauro Bigonzetti’s Oltremare—looms large in our minds when contemplating the subject. For the vast majority of emigrants leaving their native country during that time extraordinary, daunting risks accompanied whatever promise the journey to America offered. Identifying with the various feelings they likely experienced is not difficult. My initial bewilderment upon seeing Oltremare dissipated with every subsequent viewing. There is plentiful glamour, style, color showcased at the ballet. This work by Bigonzetti provides an interesting contrast in terms of its choreography, costumes and lusterless overall appearance. And the enthusiasm with which NYCB's dancers have always performed their roles as common people from that period is commendable. Although it may sound sentimental to some, Bruno Moretti's music is touching and effective. Any criticism regarding the peculiar movement involved in the main pas de deux of Oltremare is offset by how naturally Maria Kowroski and Tyler Angle perform it. An earlier pas de deux with Brittany Pollack and Peter Walker, both splendid in their parts, was as moving and superbly executed. Every other dancer in this run also deserves due credit, with an intriguing Lydia Wellington particularly capturing my own attention. * Since performances of Judah are scheduled for later in the season, it is especially regrettable that Herman Schmerman—a ballet I am not that familiar with—will not be presented again tonight. Unfortunately, I was able to see the mighty trio of Sara Mearns, Unity Phelan and Brittany Pollack in its first part only once last week. Nevertheless, I am looking forward to tonight’s entire program—another gorgeous performance by Sterling Hyltin in Hallelujah Junction and that transcendent central section of Concerto DSCH with Mearns and Tyler Angle above all.

Intensely annoyed that I missed this event. And there were six performances... unbelievable! I have no idea how this happened. If there had not been a post, I would have had an excuse. Nevertheless, thanks to mussel.

How can individual dance works survive the inevitable challenges posed by the passage of time without favorably impressing persons who view them for the first time? As a newcomer to Cunningham, my feeling was that two of the three works presented in honor of his centenary this past week at the Joyce were strikingly beautiful. After the performance Thursday evening, somebody asked about the lack of emotion intrinsic in the choreography, and opined that the dancers on the stage looked like automatons. This is a concern often expressed about abstract dance. In response, Robert Swinston—artistic director of Compagnie CNDC-Angers, and a former dancer in Cunningham’s company—said that the choreographer never instructed his dancers not to emote, and that it was left to each performer how to interpret a part and up to the audience how to react to it. Partly due to the peculiar John Cage percussive score punctuated by lengthy silences, and partly on account of some unappealing costumes and weak casting choices, Duets—a work for six couples dating from 1980 and performed last on the program by The Washington Ballet—sadly appeared to me mechanical and unattractive. In contrast, Suite for Five (1956) performed by Compagnie CNDC-Angers and Summerspace (1958) by Ballet West were glorious. In addition to the sheer beauty of the movement and poses, the fertile imagination displayed by Cunningham in these two works furnishes both with an enduring free-spirited and improvisational aspect. More than half a century after their creation, they appear permanently futuristic. This sensation is enhanced by the surprisingly effective, quietly entrancing minimalist music by Cage and Morton Feldman. In both pieces, moreover, the costumes and set design are gorgeous and adorned with brilliant colors. Such beauty in dance should generate emotion! All five individuals from Angers were attractive, solid dancers whose performances elicited curiosity as well as appreciation for Cunningham's choreography. Particularly captivating were Catarina Pernão and Anna Chirescu, and the parts they danced. The six dancers from Ballet West were similarly attractive and solid in Summerspace, with Katlyn Addison and Chelsea Keefer and their roles enthralling me in that dazzling piece the most. Although in a marvelous sequence requiring arduous jumps not nearly as powerful as the latter, Gabrielle Salvatto as a replacement in this key part happily proved otherwise superb. Naturally, it is exciting that NYCB will be performing Summerspace in the fall, and makes one wonder about potential casting. In addition to all other considerations, the roles require strong jumping abilities. In the Addison part, Teresa Reichlen would be sublime. Even more interesting will be to see who is cast in Keefer's role. Regardless, the performances at the Joyce have aroused my interest in further exploring Cunningham's work.

A great ballet does not depend on the effectiveness of its original or any single cast to produce an impact: it proves its worth on the stage continually. Neither on this run nor the previous one did the dancers of NYCB have the slightest difficulty in convincing that Liebeslieder Walzer is a great ballet. Grasping its manifold intricacies, however, requires numerous viewings. The paucity of its performances by the company is consequently annoying. Several observations on what I saw— For the second time in a year, Ashley Laracey’s impersonation of a woman from a bygone era—in this instance the nineteenth century—proved profoundly moving. Observing her (as closely as possible) throughout was sheer enchantment. In particular, Laracey’s masterly performance during the first pas de deux of her character with that of Justin Peck’s—complete with strikingly elegant placement and movement of arms, hands, and head—proffered a sublime distillation of what Liebeslieder Walzer and ballet in general are all about. Casting a young soloist such as Unity Phelan in such a challenging role was a courageous yet praiseworthy decision. Her dramatic take on the character was keenly affecting, and contrasted markedly with the merrier interpretation of the same woman by the seasoned Sterling Hyltin. Customary marvelous touches and brilliant dancing characterized Tiler Peck's portrayal of the role originated by Violette Verdy. No one in the current NYCB roster matches her capacity to consistently accent choreographic sequences so exquisitely. During the first part of the ballet the dancing by Sara Mearns occasionally appeared somewhat overdone in an elegant 19th century drawing room setting. During her long sequence with the character depicted by Russell Janzen in part two, however, her ardent, supernal dancing—especially considering her incredible, extraordinarily busy week—was nothing short of phenomenal.

"First comes the sweat. Then comes the beauty, if you’re very lucky and have said your prayers." This goes way more for “l'amour," as the immortal La Belle au bois dormant patently implies. Although for a human being to experience profound love may be difficult and rare, it is not impossible. Through the sundry productions that have issued from the original version by Tchaikovsky and Petipa ballet has vividly, splendidly brought to theatrical life a story that is exquisite and timeless to begin with. Aficionados may debate the merits and shortcomings of various productions, and criticize the version by Martins all they wish. It would be false and dishonest of me not to acknowledge, however, that this production by NYCB initially aroused the curiosity which led me personally to reflect on the story. Not surprisingly, with such a complicated work and enormous cast not everything panned out during this two-week run. Yet the past fortnight at NYCB has been altogether immensely rewarding and enjoyable.

Those who were only present at the Woodward/Huxley debut last Thursday witnessed the worthier of their two performances. At Sunday's matinee Woodward had a bobble at one point on her own, and there were at least a couple of serious partnership mishaps during the Wedding Pas de Deux. Otherwise, Woodward again was superb during The Spell and The Vision sections, and Huxley excelled in his solos. Comments about Huxley not projecting royalty are understandable; however, neither quite did Woodward in the final scene. Many in the orchestra section gave them a standing ovation at the ballet's conclusion. Of the five Auroras Lauren Lovette appeared the most frustrated with the technical demands of the role. Nevertheless, she also had many gorgeous moments, and looked very natural as a Princess. Along with the outstanding Joseph Gordon as Prince Désiré, she seemed to have materialized straight out of a picture book. At the performances I saw the various women who performed the fairy variations during The Christening did so with finesse and elan. The qualities Aurora has been blessed with in this production are worth noting: tenderness, vivacity, generosity, eloquence, and courage. Since there are so many instances in this work where the stage is crowded with dancers, occasional issues with group alignment and formation are to be expected. Although it is possible that from my position I missed some, nothing of this nature I observed proved especially distracting. The Lilac Fairy’s Attendants during The Christening, the Maids of Honor during The Spell, and The Nymphs during The Vision were particularly enchanting. One of the dancers I have most often seen on the stage at NYCB is Lauren King. In addition to some uneven work, I have also seen numerous estimable performances by her. Furthermore, even though always appreciative of her loveliness, an opportunity not long ago to briefly witness her dance from close at a studio made me realize how I had nonetheless underestimated it. Her being cast as the Lilac Fairy this season was not surprising, nor was how much I enjoyed her in the part. Ever since becoming a soloist Emilie Gerrity has done some truly excellent work, and in this run she was fantastic in her Fairy of Tenderness variation, and as Emerald. On Sunday I happily caught sight of Unity Phelan as one of the Garland Dance Villagers, and wondered whether she would in fact appear as one of the precious metals during The Wedding. That did not occur. Regardless, she shone in this season's The Sleeping Beauty in all her three roles: as the Fairy of Courage, as Diamond, and as Emerald. Earlier in the week her missing two scheduled performances as the Fairy of Courage led me to fear that what I was so looking forward to on Thursday would not take place. Thankfully, it did: witnessing Phelan as Diamond, Brittany Pollack as Emerald, and Ashley Laracey as Ruby dancing so resplendently together was one of the absolute highlights of the run for me. A key reason for NYCB's success this past decade has undoubtedly been the extraordinary level of achievement by three of its finest and most highly motivated principal dancers: Ashley Bouder, Sterling Hyltin, and Tiler Peck. All three consistently deliver performances of genuine merit and distinction in both the regular NYCB repertory and full-length/story ballets! With their magnificent renditions as Aurora this winter season each reaffirmed her standing as a true pillar in the current NYCB roster. Finally, in my opinion, no performance during this run surpassed in beauty, power, depth and cohesion the one Friday night with the second cast. Tiler Peck, Tyler Angle, Ashley Laracey and Sara Mearns were all so exceptionally beautiful and effective in their respective roles as to—notwithstanding how much of this ballet I had seen during the past two weeks—evoke my regret at not having been able to catch the middle one of their three performances.

Some performers on the stage (or for that matter any steadfast member of the audience) may feel that they are experiencing their own "Groundhog Day" during this two-week run of The Sleeping Beauty. In truth, and keeping in mind Tchaikovsky’s glorious music, for the sympathetic viewer supernatural intervention is not a prerequisite in order to watch all three parts from Act I of NYCB’s engaging production—The Christening; The Spell; The Vision—as well as The Awakening from the second act over and over in the course of a couple of weeks. Only parts of The Wedding can become wearisome. The popular movie referenced indeed merely underscores the greatness of the centuries-old tale. Coming up at the Metropolitan Opera soon will be three Ring cycles. Whatever one may think of Richard Wagner as a person, even a cursory familiarity with his ten best-known operas reveals the composer (who wrote his own librettos!) as one of the most ambitious and sophisticated artists who ever lived. The monumental Ring cycle—made up of four of these operas—is one of the greatest works of art created by humankind. Act 3, Scene 3 of the 3rd opera, Siegfried contains an unmissable similarity to The Awakening scene from The Sleeping Beauty. As with any successful presentation of the ballet, the highlight of last evening's at NYCB was the superb performance of the ballerina enacting the role of Aurora. On this occasion it was a mesmerizing Sterling Hyltin, dancing with authority, vitality, and precision throughout, while brilliantly and convincingly creating the character's arc from girlhood to womanhood during her allotted time onstage, and skillfully imbuing the work's fantastic The Vision segment with a haunting touch of mystery and poetry. During the spectacular display at the end of the wedding festivities when all on the stage dance simultaneously, the identical choreography also assigned to Aurora can appear too undignified for a queen. Nevertheless, this was not the case with Hyltin, due to her majestic countenance and carriage. For the same reason likewise, despite the tremendous shift in the tone of the music which occurs afterwards for the coronation, a smile on her face at that juncture did not seem misplaced. Many dancers from all ranks are doing commendable work in these performances. A striking Teresa Reichlen as the Lilac Fairy, a fiery Maria Kowroski as Carabosse, and Brittany Pollack and Ashley Laracey as Emerald and Ruby respectively—both of them elegant, dazzling—were especially enjoyable last night. Although not as exemplary in the role as judging by his looks one imagines he could be, Russell Janzen turned in a respectable performance as Prince Désiré.

With its gigantic cast, a run of NYCB’s production of The Sleeping Beauty—notwithstanding the fact that full-length/story ballets are not its specialty—probably affords the best overall opportunity to view the entire gamut of the company’s roster of dancers at a given time. More importantly, it is generally an extremely fetching production which serves the immortal fairy tale sufficiently. Three segments of the ballet of paramount significance and beauty—The Vision; The Awakening; and the denouement of The Wedding—came off superbly during Thursday evening's performance. This was primarily due to the stirring Aurora of Tiler Peck, but also to Ashley Laracey's enchanting turn as the Lilac Fairy and Tyler Angle's as Prince Désiré. It is of vital necessity at the ballet for dancers to seem prepossessing in the roles in which they are cast, and that is certainly the case with all three of them in The Sleeping Beauty. (How regal and cognizant of the gravity of the moment Angle appeared during the coronation!) This made the interactions between their characters persuasive and gripping at all key points of the work. Although not to be taken for granted, Tiler Peck’s dancing—with incomparably gorgeous turns and an extraordinary display of strength, skill and gracefulness while moving on pointe—was expectedly phenomenal, particularly during The Vision and The Wedding scenes. Minor mishaps in the dancing of Angle and especially Laracey hardly marred the sweeping effectiveness of their performances. In terms of partnering as well as his solos, the former is one of the most accomplished male dancers of the company. Even though she is not distressingly thin, it does look as if Laracey has unfortunately lost some weight. The delicate symmetry of her long, lovely limbs which—along with instinctual and cultivated artistry—lends her movements and poses an engrossing ethereal beauty remains nevertheless intact. In addition to a bewitching performance by Sara Mearns as the Fairy Carabosse, pleasing ones by (among others) Emilie Gerrity as Emerald and Brittany Pollack as Princess Florine, and wonderful debuts by Harrison Ball as Gold and Unity Phelan as Diamond, were all icing on the cake Thursday night.

Needless to say, human life is predicated on the impossibility of knowing what is on “the other side”: there is no boundary more challenging than that which separates the living from the dead. Surely it is natural to grieve deeply at the loss of a dear person, under any circumstances. Accordingly, the subject matter of the myth of Orpheus is incontrovertibly heart-wrenching and difficult. One has to admire Balanchine (and Stravinsky through his music) for attempting to represent the famous story in a ballet. Of particular interest is how the choreographer depicted the theme of blindness, especially in the pas de deux downstage in front of the gigantic wavering curtain. However, the overall result—at times verging on the ludicrous—is not as powerful or moving as one would expect given the somber subject. That the company does not present Orpheus often is, therefore, unsurprising. Since it necessarily remains a fascinating work it should, nevertheless, occasionally return to the repertory. Headed by vivid debuts from Gonzalo Garcia in the title role, Sterling Hyltin as the beloved Eurydice, and Peter Walker as the Dark Angel the performance by the first cast this season was fulfilling. Presently, I find the formal beauty of Apollo overpowering, so—barring any glaring miscasting among the four roles—it is inconceivable for me not to savor a presentation of the ballet. In his significant debut Taylor Stanley was captivating, and his trio of Muses—Tiler Peck, Brittany Pollack and Indiana Woodward—absolutely fabulous. Obviously, it was gratifying to witness Pollack’s debut as Polyhymnia. Observing Unity Phelan in Agon—which was well-performed later in the evening—made me impatient for the day she is also cast in Apollo. Catching the second casts of Apollo and Orpheus tomorrow afternoon, unfortunately, appears unlikely.

Without dancers there would be no ballet! At its best, however, ballet has never been about just the dancers. Choreography and music (and how felicitously they complement each other) are paramount! There are all sorts of reasons why an individual may not enjoy a performance of Serenade, including those not having anything to do with what is occurring on the stage. This ballet, nonetheless, remains a wondrous achievement whose provenance as a work created for the students of the School of American Ballet boggles the mind. Although dancers have their unique strengths and characteristics, and are of course not interchangeable, its capacity to enthrall when performed by different casts provides the ultimate validation of a great ballet. Considering its origin, this is especially true of Serenade. As someone thrilled to the core by two performances with Sara Mearns as the Waltz Girl and Tiler Peck as the Russian Girl during the first week of the season, I found last night's rendition of the ballet with Lauren Lovette, Ashley Bouder and Emilie Gerrity as the Dark Angel also deeply powerful and moving. In fact, Serenade is always a tough act to follow on a program, and has proven so compelling—after its absence—on this run that I had difficulty fully appreciating the other two items of the evening (even the grand Tschaikovsky Piano Concerto No. 2). There were a few issues with the corps as well as the soloists at each performance, but they did not substantively detract from the overarching power and beauty of this sublime work.

Interesting observations! My previous comment, of course, was made by way of pointing out the irony in the situation and praising ABT, instead of as a means to criticize NYCB. Both Symphony in C and Concerto Barocco are works which are justifiably presented often; therefore, it is understandable that some performances of them—though still worthwhile—may seem less remarkable than others. By contrast, it was easier to be impressed by Symphonie Concertante at the festival, since performances of that ballet are infrequent. The fact remains, however, that all five renditions of the latter work I saw this fall were superb, and for that ABT deserves plenty of credit. Additionally, I feel that Shevchenko and Teuscher merit special plaudits, both for making outstanding debuts in their respective roles and for their exceptional performances at City Center.

Two dazzling performances of Symphonie Concertante by ABT at City Center this past weekend within the space of less than 24 hours! To say the least, it is bizarre for ABT to have upstaged NYCB at a Balanchine Festival, especially at this point in time; however, there you have it. This occurred partly on account of how seldom Symphonie Concertante is presented. Those five performances scheduled during the Fall Season were undoubtedly essential for a fuller appreciation of the ones at the festival. The dancing at City Center by Thomas Forster, as well as three female soloists and all the women from the corps in the cast was in any case impeccable. For Christine Shevchenko and Devon Teuscher these two performances marked veritable triumphs: they made every moment of the ballet's outer segments appear incontestably precious, and propelled its exalted middle one into a pinnacle of sublimity.

To have observed last night from close to the stage how supremely well Christine Shevchenko and Devon Teuscher worked in tandem throughout Balanchine’s stately Symphonie Concertante—gracefully mirroring the interplay between the violin and the viola in Mozart’s inspired composition—amounted to another peak experience at the ballet. Truly marvelous stuff Saturday evening at City Center from ABT and these two ballerinas!

During ABT's Fall Season I attended four performances, three of them for the express purpose of familiarizing myself with Symphonie Concertante in preparation for the two this weekend at City Center. Why this exquisite work is not presented more often is baffling. All three casts—Stella Abrera, Gillian Murphy and Alexandre Hammoudi; Christine Shevchenko, Isabella Boylston and Blaine Hoven; and Shevchenko, Devon Teuscher and Thomas Forster—proved delightful from my position in the Fourth Ring. In terms of the actual dancing, the only blemish witnessed was Hammoudi's poor solo work. (The six demi-soloists at each performance, as well as the corps de ballet, were also highly appealing.) Nevertheless, my feeling is that it was appropriate and sensible to choose Shevchenko and Teuscher for the assignments at City Center.

Yes, bobbi. The performance last night of Divertimento No. 15 by San Francisco Ballet at City Center was sensational and profoundly life-enhancing. A great way certainly for Ana Sophia Scheller to return to the city, it featured spectacular accomplishments by at least three of her new colleagues—Dores André, Sasha De Sola and Frances Chung. De Sola's own stumble as the ballet was nearing its conclusion only made her and the company more endearing to me!