Concerto Barocco (1948): (See January 21, 2006 Review). Music by Johann Sebastien Bach (Double Violin Concerto in D Minor), Chorography by George Balanchine, Lighting by Mark Stanley, Violinists: Arturo Delmoni and Kurt Nikkanen, Performed by Yvonne Borree, Abi Stafford, Nikolaj Hübbe, and the Company.

Yvonne Borree and Abi Stafford worked the violin solos with uplifting sweeps of the arms and underarm weaving patterns, assisted by Nikolaj Hübbe as male soloist. In fact, Mr. Hübbe was onstage with eight female dancers in the first of three Bach scored ballets, this one choreographed by Balanchine. Surprisingly, Ms. Stafford seemed better prepared than Ms. Borree for the tight timing and appropriate affect. Ms. Stafford exuded luminescent energy with a flood of musicality. Arturo Delmoni and Kurt Nikkanen played the double violins in flawless, frenzied fashion. Mr. Hübbe is more and more the epitome of classical lines, and this 1941 premiered work for American Ballet Caravan shone brightly with its rhythmic variations.

Tribute (2007): (See January 31, 2007 Review). Music by Johann Sebastian Bach, Choreography by Christopher d'Amboise, Costumes by Holly Hynes, Lighting by Mark Stanley, Piano: Susan Walters, Performed by Devin Alberda, Ana Sophia Scheller, Robert Fairchild, Kaitlyn Gilliland, Gretchen Smith, Tyler Angle, Adrian Danchig-Waring, Ashley Bouder, Marika Anderson, Likolani Brown, Lauren King, Kathryn Morgan, Courtney Muscroft, Georgina Pazcoguin, Rachel Piskin, Brittany Pollack.

One of the more interesting corps dancers at City Ballet is Devin Alberda, who began this work with a flawless, riveting solo. The work was built on him at School of American Ballet. In de rigueur black/white leotards, Mr. Alberda soared, glided, spun, and fully mastered this stark, stunning choreography by Christopher d'Amboise, a former City ballet dancer. Tribute is a ballet worth seeing multiple times for its fascinating quilting of solo, duo ladies, duo gentlemen, pas de deux, pas de quatre, and more. Ana Sophia Scheller and Robert Fairchild buoyantly bubbled in the allegro, and Ashley Bouder and Tyler Angle were charismatic and muscular in the pas de deux. In duo gentlemen, Devin Alberda and Adrian Danchig-Waring had internalized the severe affect and daring split-timed stops. Of the female leads, Kaitlyn Gilliland was especially mesmerizing.

Brandenburg (1997): Music by Johann Sebastian Bach, Choreography by Jerome Robbins, Costumes by Holly Hynes, Lighting by Jennifer Tipton, Performed by Ashley Bouder, Andrew Veyette, Maria Kowroski, Philip Neal, and the Company.

On the heels of the previous work, Ashley Bouder was fresh as a daisy in a completely different mood and moment. She was partnered by Andrew Veyette in Jerome Robbins 1997 work. Four of the Brandenburg Concerti provide the rapturous scores, performed backwards, Concerti Nos. 3, 2, 1, and then 6. Maria Kowroski and Philip Neal were effervescent in leading this folk-costumed, Baroque-infused work. How lovely to hear a harpsichord wafting from City Ballet Orchestra's pit, and Guest Conductor, Paul Hoskins kept the music clear and textured.

Kudos to Johann Sebastian Bach.

Ashley Bouder and Tyler Angle in "Tribute" June 6, 2007 at the New York City Ballet Photo © & courtesy of Paul Kolnik