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I agree with @deanofdance about Nadon's debut. But after thinking about it for a few days, and speaking with another long, time dance lover, I wanted to add one thing. Mozartiana is considered one of Balanchine's last great works and it was done on Suzanne Farrell. I sometimes feel this weighs heavily on dancers in the role, and they approach it as if they are filled with the idea they are doing something "important." Nadon seemed free of that, and was therefore able to bring her own brand of musicality, imagination, beauty and wit to the piece. It was utterly refreshing. I want to see her do it again, and again because I'm eager to see what she will do.

A quick note about last night's performance. Mira Nadon was a joy and a revelation in Mozartiana. With her imagination and musicality in full force, Nadon brought the ballet to life and made it her own. I'm eager to see her in it again. Peter Walker was better than when I saw him last week (and he wasn't bad then). The role is clearly a stretch for him, but he meets the technical challenges and fulfills the fast, demanding choreography better than I would have thought possible for such a tall, long legged dancer. Last idle thought about the ballet. As my husband and I were talking about it, we wondered if the gigue dancer represented Mozart. There's an elegance to him, but also a quirky humor. The themes established in his variation occur through-out the rest of the ballet, and in the end he brings everyone together. As I said, idle musing. One of the fun things about Balanchine ballets it the way they are open to interpretation and inspire one's imagination.

I haven't ordered it yet, but it seems to be available at https://www.barnesandnoble.com/. I was hoping for an ebook! That might never happen so I might have to go ahead and order the print edition.

Just came in from Tuesday's show. A few thoughts. To celebrate SAB's 90th Anniversary, advanced students from the school did Serenade (a few of the dancers are recently named apprentices at NYCB.) The principal women's role were divided so there were 5 principal women not 3. I found the performance moving. It was amazing to see these young dancers dance so boldly, musically and earnestly. Mozartiana is one of my favorite ballets. I was concerned, going in, about Peter Walker as the male lead. I was pleasantly surprised. He pulled off the fast and difficult variations well, if not comfortably. There was a landing from a tour en l'air that went awry, but on the whole he had a decent first outing, and I'm sure will improve from here. Mearns was gorgeously simple in the Preghiera movement. After that the variations were very up and down. Something seems very off technically (I thought the same thing in Tchai PC2). Sections lacked clarity and focus, and the final section seemed low energy. She didn't look happy during curtain calls. I hope she is OK. Troy Schumcker was fine in the gigue but I miss Daniel Ulbricht's ease and presentation. Concerto DSCH was pure fun. Emma Von Enck was sharp, quick and witty in the Ashley Bouder role. I can't get enough of Emma VE. I also enoyed Unity Phelan. This role suits her more, IMO, that the powerhouse ballerina roles she sometimes is given. As always Adrian Danchig-Waring's quality of movement blows me away. The evening began with a speech from Jonathan Stafford about SAB - the founding, history, people who've attended. He gave a big shout out to Suki Schorer who's now been with the school 52 years (if I heard right). I'm sure Stafford has a lot of strengths, but he's a. boring speaker!

I agree with so much of what you said Cobweb, particularly in Laracey's case. Pereira is doing Swanilda this season but typically she isn't cast much, and neither is Adams or Brittany Pollack. I know Pollack has been out with an injury and on maternity leave twice (all openly stated on social media), but even before that she was rarely cast. The thing about Pereira, Adams and Pollack is that when they are cast they are ok to good. They basically keep their reps (which are limited) and have no incentive to leave.

Gosh I've been thinking this. The man's variations are demanding, fast and need a combination of ease and precision. I'm hoping Walker will surprise me.

I wondered this the other night when I saw a bright light from the corner of my eye after a show had started. I thought it was a rude person with a phone, but it was an usher with a flashlight!

A problem that I see is that often the 3rd and 4th rings are not opened for ticket sales until close to the performance date. The 4th ring is sometimes not opened up at all. Neither ring is available as part of a subscription series. Management wants to fill the orchestra, 1st and 2nd rings as much as possible before selling tickets to the upper rings. I understand the strategy, but casual ticket buyer could easily be confused by the whole thing. Aside from that, inexpensive subscriptions to the upper rings might sell well. Also, I know from experience that there are some ballets that are spectacular when viewed from mid first row of the 4th ring!

I was not at the TPC shuffle performance, but a couple of things puzzle me. First, please correct me if I'm wrong @abatt, but my understanding is that Phelan didn't bow at the end. This seem odd to me. Regardless of any individual dancer's desire to bow or not, it ultimately is the stage manager's decision. IMO Phelan should have bowed. This had to have been confusing for the audience. The second thing that feels strange to me is that Phelan did one section, but Mearns returned for the final movement. I understand that a lot of last minute decision must have been happening, with everyone doing their best to cope, but I hope this kind of thing doesn't happen again and management really thinks about how to handle these situations. The feel of pinch-hitting is not good IMO.

I was also at today's matinee. Perhaps I'm in the minority but I'm fan of Baiser del la Fee. I find the opening with the corps fresh and interesting. The man's variation is unique, and carries an air of mystery. Even after repeated viewings over the years, the partnering in the two pas de deux, still feel inventive to me, and the contrast between the delight and freedom in the early pas, and the dark tension in the end pas, give as much of a story as I need. Fairchild and Huxley were both very fine. It was nice to see Claire Von Enck looking good as lead corps along with Baily Jones. Lar Lubovitch, Each in Their Own Time, was quite enjoyable. You couldn't find better performers for this type of fluid, connected, spiraling movement than Adrian Danchig-Waring and Taylor Stanley I admit I'm a bit tired of This Bitter Earth. For me it loses impact with repeated viewings. Sara Mearns and Tyler Angle look wonderful together, as always. Four Seasons, as @matilda mentioned Phelan replaced Tiler Peck. Totally agree that Meia tore up the stage. It's more fun to watch him with Tiler Peck, because she's more of a match for his dazzle. Phelan was lovely, but to me she never looks comfortable turning. I'm not sure why she keeps getting cast in these bravura roles. Emm VE was terrific in Winter, and Woodward/Chan great in Spring. There are no dancers who are more delightful than Emma VE and Woodward. Laracey in Summer continues to demonstrate that she's a quality dancer. Great afternoon at the ballet.

Thnks for the info, California. I'll be sure to go. In case there is interest in Joffrey, I was able to watch the documentary about him and his company for free with commercials https://tubitv.com/movies/319699/joffrey-mavericks-of-american-dance. It's called Joffrey Mavericks of American Dance.

I was also there tonight. PC2 is such a feast, and I agree with meunier fan that Kikta was terrific - totally assured and radiant. She danced like a principal. Sara Mearns was far from her technical best in the lead role. Still she is Sara Mearns, and she had transcendent moments, particularly when being partnered. Speaking of which, Tyler Angle's partnering never ceases to amaze me. His solo work looked polished and secure. IMO he's dancing better than he did two years ago. The corps looked fabulous too! I enjoyed Duo Concertant with Woodward and Stanley. I've seen Woodward so seldom in recent seasons that I actually forgot what a joy she is to watch. She has a wonderful blend of speed/clarity and lyricism/softness. She makes every role her own. I hadn't seen Glass Pieces for a while. I enjoyed it, but don't feel the desire to see it again soon. Robbins' ability to structure choreography is on full display, but by the end it feels a bit long to me. However, It's good to see Ashley Hod back. She looked gorgeous in the central pas with Aaron Sanz. A wonderful night at the ballet. What a great company.

Nice pic. Glad Farrell is around to coach Nadon again. I imagine the Ib Anderson role will be quite challenging for Walker.

Totally agree about Tiler Peck and her flexibility, to my eye, has increased to some degree since her return from injury. In respect to Pereira, NYCB typically allows dancers to keep their rep. Among other things, is saves rehearsal time.

The role is often cast tall, but I saw Sterling Hytin in it a few times and though she was terrific.