When Ashley and Andrew graduated from SAB seven years, I was so enthused about their performance that I dreamed of all the roles I wanted to see them in together. Well, last night one of my ballet dreams came true: Ashey and Andrew in Raymonda. Both of them gave a polished fabulous performance. Yes, of course, you expect pyrotechnics from both of them, but each just grows exponentially in artistry. Each of their solos was slightly better than their partnering together. But, don't forget, this ballet has some tricky partnering (perhaps all Balanchine has tricky partnering), so the next performance will be super perfection. I saw details in the choreography that I hadn't seen in thirty years -- all due to Ashley's phrasing. And Andrew's cabrioles were gravity-defying. This second cast with the demis needs a little more rehearsal: there was some bumping into each other in the coda and the demis didn't even get to take a proper bow at the end; they had to be brought in front of the curtain at the end. Standouts were Faye Arthurs, Abi Stafford and Ana Sophia Sheller.

Sterling made a nice if tenative debut in the Violin Concerto

By any chance, does anyone know which men danced in the corps de ballet in Violin Concerto last night? It seemed to be off the casting (Kyle Froman danced uncredited, fr'instance)

What I could recognize was Alberda, Hall, Froman (I believe substituting for Laurent), Seth, Scordato, Tworzyanski, Peiffer and a new man who has been in several ballets so far, but I can't identify. Tall, broad shouldered, wavy brown hair. Was that Justin Peck?

Forgive me for asking you to step inside my head, but is Scordato the young man whose face reminds me of Jeff Edwards'?

OMG, what a handsome guy! Yes, who is he?

I don't see Scordato as looking like Edwards http://www.nycballet.com/company/personnel...c/scordato.html

The young man who reminds me of Jeff Edwards is currently in Miami City Ballet - Michael Breeden.
http://www.miamicityballet.org/images/danc...a-msbreeden.jpg
(not a great image, but the one I could find)

And yes, I noticed the mystery guy similarly. As shallow as I feel for admitting it.

Are you guys talking about Justin Peck as the dark-haired guy?

Justin is the first guy on the left wearing green in this R&J photo posted on Front Row Center.
http://www.nycballet.com/news/frc/wk2/pic1.html

Wavy brown hair sounds like David Prottas.

That's him, Abby. Is he Tiler Peck's brother?

So I know who I'm talking about, the men in green in the picture are Peck, Laurent, Alberda, Tworzyanski, Schumacher?

Nope. No relation to Tiler Peck. The first three men you note in the photo are definitely correct. Not sure of the last two. Sorry.

Yes - the last two are Tworzyanski and Schumacher.

I was at Tuesday, and I would call the dual Raymonda debut a qualified success.

Bouder's dancing couldn't have been clearer, her energy more infectious, her response to the music more delightful. She just overplayed the sweetness factor. There's plenty of sweetness in that music, and the coy tiltings of her head just made it a bit gooey.

The man's first variation is a killer -- nary a moment to breathe, and most of the time spent beating or leaping in mid-air. By the end of the variation, Veyette was looking spent, and he never quite caught a second wind. Count this as a learning experience, and maybe he'll figure out a way to conserve something for the rest of the ballet.

The corps was good, and the soloists mostly at least adequate. Stafford (what is she still doing in this role?) blazed through her variation and the amazing finale. Dronova is an angular dancer, and like many angular dancers has a tendency to look brittle. Tuesday there was no brittleness, just a fine, feminine delicacy. I also liked Mueller's bold reading of the harp variation. In the difficult final variation with the pirouettes on the bent supporting leg, Scheller struggled. I have no doubt she can do it, but it must have been an off-night.

I very much enjoyed Hyltin's debut in Stravinsky Violin. Unlike her partner, Nilas Martins, she has the right energy. My complaint about this performance is hard to pin down. I didn't find much contrast between the two pdds. I used to think the first one involved a mature couple with a complicated relationship, the second a younger one who haven't yet accrued the complications. This time, the couples seemed very much alike. Kowroski lacks the quirkiness vonAroldingen brought to the role. The "crab step" when she turns over in back bend, was too smooth and apparently effortless. Nothing knotty there. (Facility is not always a good thing, I guess.) But it allowed the eye to take in the whole picture, as Evans mimicked her movements with his arms. However, the Kowroski-Evans partnership was powerful. I very much enjoy them together. He is finally getting the prominence he has, for so long deserved.

Dybbuk continues to get strong performances from its whole cast. Ringer and Millepied have been digging deeper into their roles, sharpening the details.

I was there Tues. A few observations if I may. Bouder was wonderful, fun, grand, a technical wizard -- and I am so glad that she shares the joy she feels in her dancing. While Bouder always seemed ready for more Vayette seemed spent. He had wonderful moments (big hanging cabrioles) and moments of - well not so good.

I thought all of the variation girls looked a bit wimpy with the exception of Scheller who had bad moments but showed a presence.

Ringer was fine in Dybbuk but I don't want to see the ballet ever again!

I rather liked Kowroski in VC. I am finding her to be quite a witty dancer.

I must say that one of the reasons I love this board is that I love hearing opinions that I may or may not agree with, but that invariable make me think about my opinions and think about performance I've see in a different light.

I was there, too. The crispness and musicality were there for Bouder in a wonderful debut. The grandness and increased lyricism hopefully will come. I agree with carbro on Veyette. But even as the role caught up to him, he was so gracious and matched Bouder's joyfullness. Boy that pas de deux is tricky.

I too liked Dronova in this. I was pleased with all the soloists and didn't think Scheller had trouble at all. And Stafford is becoming such a pleasure. She looks so much more relaxed out there. 2007 winter and spring seaons have been a triumph for her. There was some Keystone cops sections in the corps. There was a crash and a section towards the end when one lady looked lost. I know the soloists changed from last week but did the corps change too? The dive at the end was devine.

I haven't quite decided what to make of Hyltin, especially in Balanchine roles. There's promise in there in this ballet, but I thought she was choppy. Kowroski certainly didn't have any trouble with that backbend carbro, but I didn't find her subsequent moving over and over that smooth. However, the overall feeling from the pair was that the pas lacked a certain tension or rather frission. Overall, the group sections was were the whole cast shown brightest.

Dybbuk is certainly a ballet that benefits from repeat viewing. Ringer and Millepied were even better than last season.

Raymonda's another good role for Bouder's talent. Veyette will pull it off next time.
The variations are devilishly hard but this ballet is often dismissed as a piece of fluff.
Petipa could not have dreamed of such difficult footwork. The soloists all did fine -
stand outs were Scheller and Stafford doing their fouettes in perfect unison,
spinning like pairs skaters.
Color me shallow, but in Dybbuk whenever the 7 men line up to dance I hoped they
would break out and do the bottle dance from Fiddler on the Roof. I'd much
rather see that.

FAREWELL TO THOSE BEAUTIFUL ARMS, those lovely feet, long legs, those radiant blue eyes, and that stunningly musical phrasing. Kyra chose all Balanchine to say her goodbyes, and used all her skills with great artistry in Serenade, Davidsbundlertanze, and the final movement of Vienna Waltzes.

The introduction to the evening, Philip Neal's program notes, were honest, simple, revealing and loving, as was his partnering in Serenade and Vienna. All the dancers were at their best, and pardon me if I seem delusional, but there was a lot of loving energy on the stage, not only emenating from Kyra's face and being. There's just no way to parce and analyze this very special evening. To convey the feeling throughout the theater to those of you who were not there, just let me say that of all the wonderful performances, and even "farewells" I have attended, I felt that tonight there was more beauty, artistry, warmth and caring ricocheting around all levels of that auditorium (and on the promenade) than I have felt in many a year. I saw friends from out of town, people who only come to the most special of special evenings, many former company members (and administrators), all back to say "Goodbye" to Kyra.

The highlight, of course, was the long series of curtain calls with either everyone on stage with her, or just Kyra alone (and she can certainly hold it!), flowers and sparkles dropping down from the flies and bouquets being tossed on stage, and more, bigger lovely bouquets brought out to Kyra by Askegard, Woetzel, Nilas Martins (who seemed as if he was holding back tears), Philip, Peter Martins and Joseph and Cameron Grey (or Gray??)-- her sons. The cheers were unstoppable, everyone was on their feet from the start, and Kyra took many, many graceful, deep bows. After a bit, she walked off stage, and when the curtain came back up (as it did about 10 times) she was with David Gray (her husband) and her sons.

She really, really seemed to drink it all in and enjoy the evening. As a friend of mine said, "It's HER party!"

(edited to make a correction - thanks to Harpergroup who alerted me that I had mis-remembered Kyra's married name. Apologies to David, Joseph and Cameron Gray)

Thank you, ViolinConcerto. I'm not sure it was a party, but it was Kyra's night.

Serenade, Davidsbundlertanze and Balanchine's Rosenkavalier Waltz -- all ballets with themes of parting or loss -- certainly added poignancy to the occasion.

Damian's dropping to his knees as he presented his bouquet to Kyra was also particularly moving, as he will presumably be the honored dancer sometime around this time next year.

Clearly, Kyra takes with her much love and good will from her colleagues.

Yes, and we will miss her greatly, deeply.

How did I manage to forget to say that??

(and aren't most Balanchine ballets about parting, loneliness, loss???)

The only thing I felt that was missing from the stage during the wondrous series of curtain calls was the presence of former partners and colleagues. That has been done for many other farewells......I wonder if it was her choice.

On the last evening of her 34th year at City Ballet, Kyra Nichols danced a huge workload with joy and passion and abandon, full-out, yet nothing was broken but hearts.

The central ballet was Schumann, in which Kyra played the domestic aspect of Clara, that of wife and mother to their numerous children. In her first scene with Charles Askegard's Robert, perhaps an early, healthier time in his life, they related warmly and tenderly, her frequent touches so delicate, yet seeming to reach beyond the story to her company itself.

Much later in the ballet she dances the solo where Clara seems to be taking stock of their family, she tours the stage, frequently dipping one or both hands down to child level, as if brushing one here, caressing another there, petting this one, grazing the cheek of yet another,... but one sees that her husband is momentarily the missing element in this picture. At times, she brushes her forehead or eyes with the back of one hand or of the other, exits with both hands crossed over her eyes. The source of this inquietude enters, the very agitated Robert. Mr. Askegard is disoriented, suffering a bout of paranoia with the demonic scribes, his critics. His illness breaking the balance of their family. Maria Kowroski, the Farrell-like Muse dimension of Clara, she was the greater pianist of the two, inspiring his compositions, tries to muse him up from his pit. He does create a brilliant final arabesque-y lift for her exit, but art is no longer sufficient to lift him from madness. Later, Kyra tries to dance him back, leading his hands with hers, warm gestures of love and family, but Robert, holding on with only his empty eyes, slowly pulls loose from her reaching, guiding hand and softly backs into the sea.

Just tonight, perhaps Clara's children are our company's dancers, and Schumann those who gave the company creative life; a farewell from Kyra to Mr. B. and Robbins and others from the creative staff, to Suzanne and Jacques and all the dancers of then, and dancers very much of now.

She leaves a circle of talent that remains inspired: this is the only company that I regularly see that can present a trio of such great ballerinas in a single work as seen so blessedly tonight in Serenade, Kyra, Ashley, and Sara. Now it becomes necessary to get it up to three again, with one so crucial element gone. I hope Ms. Nichols stays a part of things here, as she goes on with life. Her connections with NYCB, so organically there for all to see this special night, could hardly let it be otherwise.

Despite the sadness of Davidsbundlertanze, there was an overall joyousness to the evening which I don't remember from other farewells. Even in Serenade, Kyra was smiling and by Vienna Waltzes, she was positively beaming. During the curtain calls, she kept coming forward, threading her way through the flowers that covered the stage, opening her arms to the audience as if to gather us all in her embrace. And her two boys were charming and obviously proud of their mom. So was her husband.

Last evening was such a heartfelt expression of love and appreciation coming from
both sides of the footlights. There were so many special moments. In Serenade,
the knowing smile as she gives her hand to Ashley and then to Sara, her new
successors, sharing secrets of a very exclusive sisterhood. The beautiful arch of her
back and outstreched arms as the curtain fell - what could she have been thinking of?
The special grins for Phil and Nilas as they got to whirl her around one last time.
That beautiful white dress with the all the bright colors of the flowers (and her
husband's Hawaiian print shirt.) Those sweet little boys in miniature tuxedos - what
was she whispering to them? She has given us so much joy - our paltry applause
doesn't seem enough in return.

We can all be thankful for Kyra Nichols farewell performance on Friday evening. She left us with the grace, style and artistry that endeared her to us over her 34 year career with the company. She has been seen on that stage in so many different works for so long that there is an inevitable rending of its tightly woven fabric when she departs. It was obvious last night that she was beloved by everyone on both sides of the footlights and in her lovely nuanced performances of three Balanchine classics it was equally obvious why we care so deeply about her departure.

Kyra’s dancing displayed all of the honesty, the integrity, the technical authority, the musical acuity, the sheer joy, the sly humor, the tenderness, the spontaneity we have so admired throughout her career. And the company rose to the occasion magnificently.

In “Serenade” surrounded by a sisterhood of outstanding corps women (Megan LeCrone, Rachel Piskin, Alina Dronova, Glenn Keenan, Ashley Laracey, Likolani Brown and Gwyneth Muller especially caught my eye) with Ashley Bouder and Sara Mearns contributing indelible performances and with Philip Neal and Ask la Cour providing elegant support, Kyra was the radiant central element of this richly patterned, endlessly appealing work. Her technical resources were integrated into a performance that was lyrical, nuanced and secure.

‘Robert Schumann’s “Davidsbundlertanze”’ shows us a community of 8 dancers and a pianist exploring both fraught and tender moments (presumably in the lives of Robert and Clara Schumann). Dancing the most mature couple, Kyra and Charles Askegard seem to be looking back toward their youth and foreword toward their doom. Kyra’s maternal gestures reaching out to calm Askegard’s increasingly agitated state were heart stopping. Maria Kowroski partnered by Neal caught the exuberance and abandon of her role, while Jenifer Ringer with Jared Angle, and even Nilas Martins with Jennie Somogyi seemed to be inspired by both the choreography and the occasion. Cameron Grant contributed a more coherent reading of the score than earlier in the season, but I would still wish for more nuanced, supple playing.

In the “Der Rosenkavalier” section excerpted from “Vienna Waltzes” Kyra’s opening solo was perfection. Carried along by those exquisite arms and hands in long white gloves, this was really dancing about the joy of movement to gorgeous music in a magnificent setting with a handsome, though sometimes phantom, partner -- Neal. When the ballroom fills with swirling waltzers and Kyra’s joyous movement is magnified, expanded and refracted.

The audience reaction was tumultuous and the curtain calls went on and on. Flowers were presented to Kyra by Askegard, Perry Silvey, Neal, Damian Woetzel, Nilas Martins, Peter Martins, and finally by her two sons, Joe & Cameron. All of the company joined in the applause and flowers and confetti rained from the rafters. Kyra was gracious, awestruck, ah shucks, doting mother, loving wife, grateful partner. An unforgettable farewell to an incomparable ballerina.

What a difference a few days can make! I've never seen Bouder more radiant, and while she displayed plenty of gesture, there was none of Tuesday's excess.

And with the debut under his belt, Veyette sacrificed nothing, either, in pacing his performance. His stamina easily carried him through, and in a more relaxed mode, his beats were clearer and more musical.

As Dale noted, these two make a fine, fun partnership.

Even with the always expected Bouder boost, I missed my daily starter dose of caffeine and left early.

Just wait until you see Bouder and Millepied in Rubies . . .

(more tomorrow, or rather later today).

I also really loved Bouder and Veyette in Raymonda. She literally skimmed across the stage at times, reminding me in her energy, charm, attack and clarity of line of Nina Ananyashvilli (just not as tall). I was on theater right, and at one point, just before her entrance, she playfully peeped out, for an instant, and those of us that caught it laughed out loud! oh, she made it seem so easy, I was sure I could have done it myself.

Veyette's elevation, footwork, line and energy were excellent. If he had had trouble earlier in the week (which I didn't see) with maintaining energy, yesterday he seemed to manage it by giving it ALL....and it worked fine.

In the Stravinsky VC, I again really liked Amar -- I think it's the best role he's done: his musicality and phrasing shine, and I really like the way he finishes his gestures. Maria seemed a little too loose in some sections, but I love to see her smiling, when her humor seeps though (and this is a good role for that). Maybe Nilas is a very strong partner and maybe Sterling needs that, but there must be someone else who can support her in the man's role! I can't even watch her, much as I'd like to, because he just pollutes that beautiful pas de 2. Why Why WHY???? Lose some weight, style your hair, stop grimacing, man!

After the performance I watched the DVD of that ballet, and there is something so fluid about all the performances that seems to me to be missing now. Could it be that when we are closer to the physical energy, the sound of feet on the stage and the breathing, it impacts how we SEE what's on the stage, and that the video takes us back a step, so that it looks smoother? Is it just the way film and video or DVD is filmed and projected, and the retina and brain perceive those images? Or were the dancers, (Peter Martins, kay Mazzo, Bart Cook and Karin von Aroldingen) working on that cement floor, just better -- under the watchful eye of mr. B?

I loved Amar's performance in SVC. His smile and attitude are so infectious in this one. Dare I say I preferred him to Albert Evans in this role? Also, this is the first time I've seen a performance of Sterling's that I actually liked. I couldn't agree with you more on Nilas. I wanted to look away but couldn't...

bouder and millepied in rubies on Sat night -- just WOW! This role is perfect for Ashley, and she and Millepied really seemed to be having fun out there. Technically Ashley was on fire -- turning many doubles into triples, and with a ton of spring in every jump. Please, PM, never cast Yvonne in this role again! Not when NYCB has Ashley to do it!

I suppose if I had planned this weekend "right," I would have gone to Nichols's farewell on Friday, Ferri's farewell yesterday, and Bouder's Rubies this afternoon. As it was, since I'm taking this week off, I knew my boss would pile as much work on me as possible Friday afternoon (and he did), making Friday impossible; I doubted I could get into the Ferri extravaganza; and I picked up a beautiful orchestra ticket to NYCB's Jewels yesterday night. So I decided instead to see Nichols in Davidsbündlertänze a week earlier and Ferri in last Thursday's Manon with Bolle; and those were my farewells to these two ladies. I hope they managed without me.

At 7:15, the Lincoln Center plaza was packed to the gills with Midsummer swingers, Mahler fans headed into Fisher to hear Maazel's Mahler 7th, and balletgoers. I couldn't resist hanging around the entrance to the Met, watching the usual ballet of wannabees trying to get a last-minute ticket to Ferri's Farewell. All those index fingers vainly pointing up at the air; twenties and hundreds flashing; "Need one ticket" signs! I wonder if any of them got in. And look! - there's David Hallberg in a nice blue blazer and open-throated white shirt talking to admirers, there's Tom Gold and Philip Neal, here comes Wendy Whelan! I was half-expecting the State Theater to be empty, with the company playing to an audience of one. I needn't have worried. I walked in, gave my ticket as usual to the pleasant bald-headed man at stage left, and had an excellent time watching two hours of Balanchine.

Oh yes, you want to hear about the dancing. Of the three segments, one was very good, one good, and one an absolute knockout. Guess which. The very good was Emeralds, especially Sara Mearns and Ask laCour in the "walking" PDD, but Rachel Rutherford and Stephen Hanna did fine with the other duet. (Please don't shoot me if I got these two couples mixed up. I think I got these names right, but I don't always have the best visual memory.) Robby Fairchild showed an appealing stage presence coupled with Ashley Laracey and Megan LeCrone.

The good was Diamonds, not so much because of Maria Kowrowski, who was fine, but mainly because Charles Askegard strikes me as so bland and uninvolved. Come to think of it, this seems to be a problem with several of NYCB's principal men, of whom the unspeakable Nilas Martins is only the worst offender. But except for the elegant Philip Neal and of course Albert Evans, a number of the NYCB's taller principals (Hanna too) strike me a little more than ciphers. And from where I sat, the orchestra sounded simply too small to give this music the richness it needs. I don't blame the excellent Clotilde Otranto for this; here is a conductor who lets the music breathe and phrase, who supports the dancers rather than busting their guts, and she was especially good in the Fauré.

I have heard crisper Stravinsky conducting, and I'm on the fence about Savannah Lowery. She's all right, but she's a kind of big, fleshy girl, and I think I want someone lighter and more pointed for Rubies. And given these minor reservations, this section of the trilogy was a triumph. The stage set this time really works. (I never saw the original sets, but I can understand why others would object to the ones for Emeralds and Diamonds.) The corps, especially the four boys - Laurent, Peiffer, Schumacher, and Villalobos - were crisp and alert. But the night belonged to Ashley Bouder and Benjamin Millepied. During the second movement especially, I was continually taken by how inventively Balanchine counterpoints the musical lines, sometimes reinforcing the music, sometimes playing against it. Since I have the POB DVD, I could sit down and try to work out an analysis. And the two principals were witty, sly, engaged, sharp, pointed, without ever lapsing into exaggeration. I loved the erotic subtext between the two, the undertone of "just wait until I get you home tonight!" Ashley's extensions, her dips, and the sly little business with just the one finger at the end of the movement, were all phenomenal; and Benjamin was with her beat for beat. The always dependable Cameron Grant came through as well at the piano.

The audience appeared to love the Tchaikovsky more than I did, but it gave full due to the Rubies also. Some of you went home thinking, "I saw Ferri's last performance at ABT tonight!" But I went home thinking: "Yeah, but you didn't see Bouder's debut in Rubies!"

I don't quite know how else to put it, and it wasn't explicit or inappropriate, but Bouder's Sun. matinee Rubies was the most sexually knowing performance of that ballet I have ever seen.

I've watched her since she was an 11 year old kid. She ain't a kid anymore.

I agree that Bouder's first Rubies was pretty spectacular. But you shoulda seen the second one. No kidding. Sorry if I'm unkind.

For one thing, Millepied seemed indifferent to her Saturday (must have been the only one in the whole house who was). He was more there for her this afternoon. I'd love to see Ashley dance this with someone with whom she has a natural rapport. Also, I'm with you on Lowery, Klavier, and it's not because of her size. It's her way of moving. This afternoon, we go a smart, sleek second woman with Reichlen. Last night, Lowery was a clunky one. There's a heaviness in her torso. I've learned to divert my attention from her to the degree possible when she's dancing.

But Ashley, whose debut was just about perfect, turned everything up a notch in today's matinee. Shaking her hips playfully at Millepied on their first entrance, I could almost hear her tease, "Come and get me, if you can!" He couldn't completely resist and fell into her happy battle of the sexes.

I've seen Jewels dozens of times since the early 1970's. You don't think a dancer could show me something new at this point, but for the first time I found a hint of story in Ashley's brief solo in the third movement. A sort of mock grieving at Millepied's temporary absence, perhaps?

Last night's Emeralds showed Sara Mearns to lovely advantage. She achieved, in her variation, a quality I haven't seen from a dancer in this company since Farrell left -- the ability to dance from some place deep inside and seem to forget there's an audience. She made the stage a private place and we became voyeurs.

[I'm going to post this now, but continue it as an edit, because if I don't, it might never get posted. ]

Not at all. I was more than happy with what I saw.

I'll just add a "me too" to the bravas for Ashley's Rubies. I didn't think she could top the debut on Saturday evening, but she did. Tess Reichlin was also spectacular this afternoon. And it's good to see Ben dancing so well, after his injuries. The high point of today's Emeralds was Jeny Ringer and Jonathan Stafford in the "walking pas." It was just heavenly dancing. But I would like to see Ashley back in Emeralds -- and then maybe do Rubies -- and then tackle Diamonds (if the powers that be let her). If anyone asks, "what was the highlight of the season," for me it was any time Ashley Bouder was dancing. One of the second highlights would be the artistic the growth of both the Staffords. In a marvelous Raymonda yesterday, Abi was just delightful.

I'm starting to have withdrawal symptoms already. . .

I had the opportunity to see both the 2:00 and 8:00 shows last night (Saturday) ...

I have to admit, I was not all that impressed with the corps of Raymonda Variations. The set, however was beautiful, especially in comparison to other companies, and the costumes were equally satisfying.

Raymona Variations is a very puffy ballet. I noticed that a lot of corps girls lost their of steam and got really sloppy even before the variations started. Perhaps this is because so many of the ballets at NYCB are under-rehearsed and thrown together last-minute. Especially in this ballet, I found the corps to be rather unmusical, and spastic, with too many distracting mannerisms rather than having the certain "Raymonda-quality" that I was so craving.
As far as the variations went, standouts were Abi Stafford and Ana Sophia Scheller, although some of Stafford's mannerisms were rather distracting and unnecessary for her variation. The other girls seemed to get through the variations, but nothing was compelling or memorable from their performances. I remember Alina Dronova's 1000 watt smile, but that is all.

Bouder and Veyette were remarkable. Bouder's phrasing, as mentioned by other members, is both exciting, and compelling, but sometimes I get the feeling that her phrasing is so exquisite, that she may be rather bored in the piece. She definitely has all the technical components down in the ballet.
I also found Veyette to be visually pleasing as well. Those two male variations are KILLER, and he pulled through without too much of a struggle.

As I was watching the ballet, I seemed to notice many different subleties between other company's choice of choreography versus NYCB's version. Are these just changes on Martin's part? Or perhaps the other companies? Or is this really how the ballet is supposed to be set? It is hard to know what the correct choreography is. I value such things, and when I see extreme differences between companies, it makes me worried that Balanchine's legacy is becoming more dilluted by the season.

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Dybbuk is an incredible ballet. It is too bad that they chose to make it the second feature in the program, rather than the last... (it would have been a great closing bill.) As a member of the audience, I could tell this ballet was VERY well rehearsed (most likely due to the fact that it is a Robbins piece.) The group of corps men were extremely together. Their cohesive-ness as a group was note-worthy.
Rachel Rutherford was sensational in the ballet. She is a true woman onstage, and is perfectly suited for this role.
Joquin de Luz was also very fitting for the ballet. His rendition of his "enlightenment" portion of the ballet was incredible, reaching the apex, when he dies.
I was somewhat dismayed by some of the lay members of the audience. Hearing murmurs of how long and boring the ballet was made me distraught. Perhaps the ballet was rather long, and does take a while to get moving, but I still felt it was adamently compelling. It really makes a difference when you know what you are looking for when watching a ballet. I feel as though some just come to the ballet without even reading the iceberg tip of the ballet's description in the program. I know that some artistic directors give pre-performance speeches to audience members before the show starts. Perhaps this would aid the audience into being less bored and more informed.

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I admittingly say with regret that I was displeased with Stravinsky Violin Concerto. I believe it may have been the casting. Nothing was incredibly wrong with Hyltin, but I felt her presence was weak, especially for this type of role. Matins really disappointed me. His performance was almost aloof. The attack of the ballet was missing in his performance.. the passion. The only comparison I can think of is plain, cold, oatmeal.
Even Kowroski seemed off. Her movements were floppy, and lacked the integrity she usually has.
The somewhat saving grace of the ballet for me was Amar Ramasar. He had the energy and gumption needed to sustain my attention. He was a little overly smiley for my personal taste, but his execution in general was refreshing.
On a side note, the corps boys seemed to struggle with being musical.

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Saturday night's full lenght Jewels was much less of a disappointment than the 2:00 show.

Emerald's actually blew me away. The corps was meticulously together, perhaps a wobble or two in there, but nonetheless, strong.
I was particularly impressed with Megan LeCrone in the Emerald's Pas de trois. She has a dominating presence onstage that is unbeatable. Robby Fairchild really surprised me. I was having a hard time picturing him in a pas de trois, but he sailed through with flying colors.
Rutherford, again, was cast beautifully for the Emerald's pdd. She and Hanna have a beautiful pleasing aesthetic, although when alone, Hanna somewhat faltered.
I was less impressed with Sara Mearns. I felt her port de bras was sensationaly out of character for emeralds. I did like Ask la Cour, however. Their pdd was beautiful, despite my picky reservations on arms.

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Rubies has always been my favorite, therefore I am biased. Bouder's debut was incredible! Flattering us with her phrasing once again, but this time, she was more in character than in Raymonda Variations. It was extremely refreshing! Millepied was less impressive, but with a dominating force like Bouder, it was hard for me to really focus on him. He didn't have some shaky area.
The only one I was not pleased with was Savannah Lowery. Her rendition of the Rubies tall girl left me shocked. Her facial expressions were overly cheesy, rather than the sultry strength the role should portray. It was also very mannery, which I dislike, and there was no attack to her movements. Slush.
The corps boys had the necessary attack to compliment the choreography and music, which you don't see very often.
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Diamonds, the closing bill, was somewhat refreshing. The corps girls really had things together. The only small instance that there was a problem was when someone fell, but she was back up in a flash, and I had forgotten about it until just now. Unfortunately, I was again displeased with Kowroski again. There was no integrity in her steps. Diamonds pdd is not incredibly difficult, and there is so much emphasis on just walking. There were so many moments of ignorant apathy, it made me sad. Yes, she can panache to one hundred and eighty degrees, but if she can't walk with integrity, it means nothing to me.

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In any rate, I suppose I am rather picky in what I like to see in certain ballets. I hold my standards from earlier generations when things were different, as Mr. Balanchine was still alive and kicking, and meticulous detail was placed upon every step. Everything was though out down to when you should breathe. Perhaps youth, as Martins has hailed, is not all it is cracked up to be, or perhaps, as I had mentioned earlier, Balanchine ballet's are being taken over by technique and becoming dilluted as the years go by, rather than having the focus more on the music, which is where it really should be, as quoted by Mr. B, himself.

It was a worthy performance for season's end. Very quietly, in terms of hoopla, today's Clotilde Otranto, and Nicolette Fraillon (What a Symphony in Three Movements!), have truly impressed as conductors. I hope we hear more from them.
Of course today's story is the girl-next-door (to Mr. B.), Assoluta Bouder. How she makes a Balanchine role better than his choreography! Which, of course, is how he planned it... America's Dance-Actress, The Inhabitor, with the bonus of a decent amount of technique, just to flesh it all out. Also, the new-look Tess Reichlen, her break-through WRENS glamour now bursting through everything else she dances: in Rubies resonating with Ashley's sexiness, as the two amplified each other's efforts.
A special thank you to Maria Kowroski for Diamonds. She had to dance both hers and Wendy Whelan's. Not to mention all performances of Farrell in Schumann, for me her signature role, plus VC's. Really way overworked; indeed, 26 lead roles in the last four weeks. This for someone just a year removed from a major absence due to mono. Courageous dancing, ravishing in the adagio, and finale. I can hardly blame her for being a bit tired in the first variation. Maybe someone important should think about the risks involved in blockhead programming... But late this season Maria has given me some truly moving experiences, and I am deeply grateful to her for them. Chuck Askegard exploded with some terrific bravura. Great that this also terribly overworked dancer seems more than all the way back.
Perhaps this year will be remembered as the one where the new generation took full command: Bouder, Mearns, Reichlen. And just in time (I hope).

Yesterday afternoon’s performance of ‘Jewels’ was excellent. To begin with, the music, conducted by Clotilde Otranto was wonderful – the Faure, Stravinsky and Tschaikovsky all filled with depth, breadth and nuance.

In ‘Emeralds’ I could have wished for more mystery and less flash from some of the cast. Rachel Rutherford elegantly partnered by Jared Angle had the right perfume for their two pas de deux, but I found her ‘hands’ solo a little too overt. Jenifer Ringer and Jon Stafford in the ‘walking’ pas de deux seemed too jerky -- there should be a pulse, but not a spasm (as Kowroski’s program notes suggest “very smooth . . . as if you’re walking on air”). The pas de trois seemed too brittle, especially the women, Alina Dronova and Ana Sophia Scheller. The corps of newbies and apprentices seemed to have been properly coached in the style of the piece. Overall, this was a lovely performance and I only wish that Violette Verdy were available to coax a little more allure and depth out of the leads.

As everyone has reported above, Ashley Bouder, Benjamin Millipied and Tess Reichlin were individually and collectively superb in ‘Rubies’. Ashley and Ben gave a playfully sexy interpretation, while Tess was just plain sexy. And the corps, especially the four men, contributed to an outstanding rendition. I do have one quibble, which reflects on Figurante’s concern about the dilution of Balanchine’s choreography. Ashley supported in profile by Ben swings her leg back and then up toward her head. In my mind, I have the image of Patricia McBride doing this move with a bent leg so that her knee comes close to touching her forehead. Ashley (and the POB ballerina on my ‘Jewels’ DVD) does this move with a straight leg which for me looks more refined and less quirky.

Finally, Maria Kowroski and Charles Askegard lead ‘Diamonds’ with all the sweep and grandeur that the work requires. I find the ‘Diamonds’ set cheesy and distracting, but the dancing by the leads, the demis and the corps was wonderful. Among the demis I particularly noticed Gwyneth Muller and Amanda Hankes, both dancing with special panache. The stage seemed especially crowded in the finale. Are the current crop of dancers bigger than the original cast? Or are they just dancing bigger?

It was a splendid way to end the spring season. Lincoln would have been proud of what he and Balanchine created.