There's a nice article about Jennifer Carlynn Kronenberg in the current issue of Dance Magazine, both on line and in print, but the print version has six more photos. Here's a link to the on-line version:

http://dancemagazine.com/issues/October-20...Balanchine-Baby

Although both texts are the same, the print edition has these pictures: Besides the cover, where she's in Nine Sinatra Songs as you see on the web site, and the Theme and Variations one, she's in another of Sinatra, and one each in Giselle, Agon, NIGHTSPOT (each with Guerra), "Symphony Three" (sic), and Dances at a Gathering (with Carranza and Patricia Delgado), so that might be worth having. (I thought so! Some of the copies I saw had defective cover printing, though.)

Thanks, Jack. I'm looking forward to the print edition arriving in the mail.

You first mentioned this article on the Allegra Kent thread. The two dancers have a lot in common, not technically perhaps (I don't know), but in the allure that they project while they move and even in repose. Each, in her own way, has a fascinating stage personality.

Although there are a few women at MCB with greater brilliance of technique, it's Kronenberg who holds my attention most of all. A Ballets Russes quality? Glamour? Mystery? I can't pin it down. But it's wonderful, and somewhat rare among young American ballet dancers nowadays.

Agreed. It's the things you can't pin down that're the most wonderful, after all.

(Catoya's whole air in her Black Swan here in Chicago was pretty good in that way, too. And while I'm thinking about it, Seay doesn't just have that beautiful line, she has a sense of what it's for, what to do with it, as well. I'm not saying they're all on a par, but there's evident reason Villella & Co cast these women as they do. Looking forward to seeing the company in Broward. As if you couldn't tell!)