The final performance of the Masters at Work series included successful debuts for Unity Phelan, Peter Walker and Miriam Miller in Tschaikovsky Piano Concerto No. 2. All three clearly had decided beforehand that any errors were going to come from giving too much, not too little. Not only was Unity competent and beautiful, but she was able to add elements that none of the other current interpreters could — such as an arabesque that rose above 90° and a breathtaking and beautifully placed a la second extension that was exclaimed by a magnificently arched foot. Her joy came across as authentic. Her energy was not compromised in any way. Her turns and grand allegro were on the money. This was a very, very good debut performance with the promise of future spectacular ones. We’re not sure why at times Unity seemed rushed — perhaps from trying to make every movement as large as possible or perhaps from her realization that this was a one & done performance that she wanted to make the most of. We wish after the first dismal performance by Sara Mearns, management would have made a complete substitution with Unity. 

        How freakin' lucky are we at the ballet to be able to listen to a program of four of the greatest composers to ever live! Tschaikovsky, Mozart, Stravinsky, and Shostakovich. That is one huge musical program — more substantial than what one will likely hear these days at Geffen Hall. NYCB not only comes through with the biggest ballet but with the biggest music played brilliantly by the New York City Ballet Orchestra. Call us grateful.  

         In some respect the ballerina in the Preghiera section of Balanchine’s Mozartiana serves Tschaikovsky’s adaptation of Mozart’s Ave verum corpus like the choir of voices serves Mozart’s hymn. They both tap into the divinity of the music allowing its humanity to flow freely as song. Tiler Peck used reserve and texture in her eloquent interpretation on Wednesday evening. The reserve was the hard part while the musical texturing was innate. Her elimination of the extreme cambré didn’t go unnoticed but it didn’t soil the performance either. Tiler’s elegant curves in the elbows and the length of the triceps in the upper arms revealed a new eloquence in her port de bras that, if one can even imagine, enhanced her storied musicality. The subtle peeling apart of the palms to open a fifth position overhead was one of many details in this exquisite performance.

        The highlight of Saturday evening was Lar Lubovitch’s Each In Their Own Time, a pas de deux he created for New York City Center’s Fall for Dance Festival in 2021 to Johannes Brahms’ Eight Piano Pieces. Lubovitch was 79 years old when he created this dance to Brahms’ 188-year-old piano cycle using a style of choreography steeped in the classical ballet idiom several hundred years old and reflecting the 20th Century influence of Jose Limon. The end result was a sensitive, universal, timeless portrayal of two human beings connecting through dance, connecting through music, connecting via their educated instruments that allowed them to speak with unusual eloquence.

        The theater doors sprang open and in we ran on the first night of New York City Ballet's Fall Season. As if in a game of Hide & Go Seek since June, we had counted a hundred days with our eyes closed and now we were on the hunt for Balanchine.

        Boy oh boy, did we ever flush out of hiding a magnificent performance of Tschaikovsky Piano Concerto No. 2 by Tiler Peck, Chun Wai Chan and an energized corps de ballet. Following a polite, somewhat colorless grand allegro solo by Olivia MacKinnon in the opening moments where she wove in and out of a circle of corps women and danced her steps spiritedly, Tiler calmly walked from the upstage wing to the center of the stage and began a master class in what it means to be a ballerina. She is in terrific physical shape with new length in her port de bras and upper back & neck. Her speed seemingly required no force — almost as if her joy propelled her. Watching Tiler embrace Tschaikovsky was to watch a dancer literally living the music. As much joy as it was for her to dance, we hope she understands the incredible joy it brought to the audience. Chun Wai Chan was the perfect partner and seemed to find a new comfort in releasing emotion. Beautiful batterie and grand allegro although the size of that grand allegro may have gone down since his Houston Ballet days. The composite elegance of Chan and Peck was so natural and effortless that it made their pas de deux a dance of one.

        The H.H. Pump Bump Award, a creative beauty from Badgley Mischka, is bestowed upon Tiler Peck for her glorious performance in Tschaikovsky Piano Concerto No. 2. What a pleasure it is to watch this artist lovingly create a new piece of art every time she takes the stage.

            It's time to rev up the ole pointe shoes for the fall season. Vroom vroom vroom. Let's poke some holes in those tailpipes to make sure that everybody can hear that the ballet is taking over Lincoln Center once again. However . . .

        . . . if anyone is looking to cram a little extra into his or her ballet schedule, Haglund highly recommends a short swim across the Milstein Pond to the Beaumont Theater to experience the brilliance of Robert Downey, Jr. as McNeal in Bartlett Sher's new riveting production. What an evening of innovative, carefully written, intelligent theater! It's hard to believe that last night was Downey's debut in a Broadway theater. He has crafted enormous detail into his characterization of the Nobel winning author whose life crumbles before our eyes. Didn’t want him to walk out of any scene. The production makes extremely clever use of Artificial Intelligence while probing the downside of AI and how it can wreck people’s lives. Incredible use of technology to further the story as opposed to substituting for a weak script as so many other shows do. At the end, the audience gets confused about what is real and what is AI. Andrea Martin is fantastic as McNeal's literary agent. Great chemistry between the two.

    McNeal runs through November 24th, but see it right away because you'll want to see it again!

    Bravo LCT – the best of Broadway again!

        Last week Haglund was reading a recent interview of Julio Bocca in which he casually quipped that he'd like to run an organization again some day. Now comes the announcement that he's taking over the directorship of Teatro Colon — not just the ballet, but the whole kit 'n kaboodle — ballet, opera, philharmonia, chorus, art institute, educational institutes — all of it. The Ministry of Culture dismissed Jorge Telerman in order to install Bocca. You may recall that Telerman was pivotal in the ousting/resignation of Paloma Herrera as the director of the ballet. He later said that he would like Bocca to return, but it's doubtful he had in mind that Julio would take over his own job! Julio is bringing in Uruguayan Gerardo Grieco to help him lead the organization.

        This is a huge ascension by Bocca – the equivalent of becoming the head of La Scala or ROH. According to several sources, the Teatro Colon is ranked as the third best opera house in the world.

        So happy that Julio has found the challenge that he was looking for — even if it isn't in New York.

    A hopelessly crappy news week ends with some great news.

    Congratulations to Patrick Frenette, Léa Fleytoux, and Fangqi Li on their promotions to Soloists at ABT! High quality promotions every one of them. Susan Jaffe got it right when she acknowledged that Frenette has been deserving of this promotion for a number years. We're very, very happy (and relieved) to see this happen.

        In addition to promoting Chloe Misseldine to Principal Wednesday at the conclusion of her matinee performance as Odette/Odile, Artistic Director Susan Jaffe should have draped Chloe's shoulders with a black & white PhD graduation stole with cords. Misseldine not only deserved the promotion, but she deserved to be recognized for academic excellence and achievement which come with great expectations for future contributions to the chosen field. Hers was a doctoral level performance if ever there was one. Haglund was nearly overwhelmed while witnessing this very young Ballerina’s mature choices and the overall integrity of her dancing. It’s hard to remember the last time that the sole of a shoe in the face felt so good. Her pointe shoe soles were so turned forward on each extension that the front row audience members could probably read the imprint on the leather. But honestly, rather than sole, it’s all about soul, to quote Billy Joel (because we cannot believe or accept that his 150th MSG performance will be his last). And as Billy says quite clearly and, in fact, several times – it’s all about faith and a deeper devotion. That’s what we saw on stage on Wednesday afternoon from Chloe Misseldine and Aran Bell: faith in their own artistry and a deep devotion to telling the story clearly and with the utmost respect for their language. To borrow one more of the piano man's most famous adages: like every good ballet performance, it allowed us to forget about life for a while. Man oh man, don’t we need that . . .

        If there was any question as to whether Lensky simply failed to get a shot off or chose to allow Onegin to kill him during their duel, it wasn’t answered on Tuesday night at ABT’s opening performance of Onegin in which Jake Roxander gave a terrific portrayal of Lensky’s ambivalence during Act II of John Cranko’s brilliant ballet based on Alexander Pushkin’s legendary poem. Roxander as Lensky, the brooding poet, who was humiliated in front of high society by his best friend’s flirtations with his girlfriend, initiated the duel with Onegin but seemed conflicted right up to the last moment as to what he should do. Neither Lensky nor Onegin could walk away from the challenge without injuring his own pride. And so the duel proceeded and concluded by shattering the lives of all four main characters.