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Saturday Evening Performance Analysis

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Although I would like to have attended the Saturday evening performance for various reasons, the only difference in casting was the absence of Unity Phelan on Sunday. Since I witnessed the debut of Ashley Hod and Phelan in the same roles a while back, it would have been intriguing to watch the pair now in Agon.

Divertimento from 'Le Baiser de la Fée' is on no account top drawer Balanchine; however, it is still an attractive and moving ballet. It should not be surprising that the De Luz-Fairchild performance earlier in the week was more touching. Nevertheless, the ballet on Sunday with Tiler Peck and Anthony Huxley was delightful. Towards its conclusion, an abrupt change in tenor occurs in the piece: it afforded Ms. Peck another opportunity to imprint—through her poignant change in expression—a hauntingly beautiful image in my mind. …show more content…
An understandable caution and reserve, therefore, characterizes her work during pas de deux. By the same token, her amplitude as well as her beauty--in tandem, of course, with her formidable skills as a ballerina--make her stand out from other women on stage. No obtrusive partnering mishaps marred Sunday's Agon. This, along with an imposing performance by Ashly Isaacs in the “Second Pas de Trois" made watching it especially gratifying.

A work which NYCB finds convenient to program often, Duo Concertant poses no difficulty for the company’s accomplished female principals. Associated more with brilliant and fast footwork, Ashley Bouder displayed endearing sensitivity in the ballet's quieter segments last week. To be sure, Megan Fairchild and Russell Jansen were a winsome couple, although the enormous discrepancy in height between the two is awkward.

Before Agon, there was an informative "See the Music ..." talk. However, it was during the last ballet of the program—Symphony in Three Movements—that I veritably saw the

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