George Balanchine's masterful Four Temperaments fully reveals the dancer in the dance. Lean choreography dominates, tightening the vocabulary to a handful of steps combined and recombined to the music of Paul Himdemith. Legs slice the air, hands snap at the wrists and shards of unison movement thrill all.

For sheer female warrior power, there's no better example than the invasion of the stage by four women advancing towards the male, legs flaring up, then stabbing floor followed by sharp pelvic thrusts forward and back.Hair rasing.

All those who debuted: Jacqueline Bologna, Jonathan Fahoury, Kennard Henson, Ashley Hod, Peter Walker, and Emily Kikta plumbed details that amplified their individualistic qualities.

Sonatine, a quiet, unassuming yet tingling duet by George Balanchine to music by Maurice Ravel played on the piano by Elaine Chelton featured an incandescent performance by Ashley Laracey and Taylor Stanley. Delicate phrases fluidly spin between Stanley and Laracey. Over the years, Stanley has discovered a meditative stillness that silemces the air and magnetizes the viewers. Similarly, Laracey seamlessly floats through the folk dance kicks and regal backbends.

Flashy and uber theatrical, the Black Swan Pas De Deux by Peter Martins was dominated by Mira Nadon and Chun Wai Chan. Both were convincing, and clearly moving towards making it their own. Technically crisp and dramatically sharp, Nadon has all goods. A secure partner Chun Wai Chan opens up to the movement. With the acquisition of a little more stamina, they will be a partnership to watch.

Nearly flawless, Tyler Peck's immersive musicality, and effortless technical acuity, frees her up to indulge in George Balanchine's abbreviated Swan Lake interpretation. A new suppleness and vulnerability support her Swan Queen performance. A well matched partner, Joseph Gordon's clear, strong classical line and attentiveness secures his place as a dancer of uncommon talents.
EYE ON THE ARTS, NY -- Celia Ipiotis