It’s no secret: I love Tchaikovsky. When his melodies are used as the backdrop in ballets, it is a magical moment for me because my two loves dance and music, collide on stage.

My last city ballet performance of the season was an all Balanchine all-Tchaikovsky program “Russian Treasures,” opening with “Serenade,” followed by “Mozartina” and closing with “Tchaikovsky Piano Concerto 2.”

Of all the music Tchaikovsky wrote, he seemed most pleased with his “Serenade for Strings.” It is a striking piece, remembered most by it’s opening chorus of strings which pull the listener into a weaving melody. Balanchine’s work “Serenade” is set to this work and though the piece is darker and thought-provoking, it’s contrast to my own impressions were nice. There’s an obvious narrative between the leads, Darci Kistler, Charles Askegard and Yvonne Borree. Darci’s ascension into the cosmos at the end of the piece was transcendent. And that opening! I find the unified choreography so fitting and sharp for when the string players audibly retake their bows (it’s always so effective—and my favorite right arm pyrotechnic when playing violin).

Kathryn Morgan–don’t think I’ve forgotten about the little star from my hometown and former ballet company! She danced twice in the corps of both “Serenade” and “Tchaikovsky Piano Concerto No. 2.”

It’s always intriguing to me that Tchaikovsky’s favorite composer was Mozart, a man who’s metric music is a definite opposite to Tchaikovsky’s unrestrained, excessive emotion. This influence is seen in one or two of Tchaikovsky’s pieces, and when present it’s unmistakable. “Mozartina” is staged to his “Suite no. 4,” one of these Mozartish Tchiakovsky works.

Balanchine’s created a ballet just as metric and retrained as the music, but not to the point of boredom. Wendy Whelan danced the lead, and watching her was as beautiful as watching the snow storm from mid-morning: steady, calm, and soft. After viewing Whelan in different roles this season, I’ve learned to appreciate her versatility. She can be anything on stage, and it is a gift to audiences.

Wendy alternated a marathon of variations with Benjamin Millepied, who gave a strong showing. In one variation he whipped out 10 pirouettes (unexpected and incongruous to the choreography perhaps) and a few people in the viewing box exchanged glances with their mouths gaping wide. I viewed Tom Gold for the first time, and everyone cooed at the four little SAB dancers who also performed in “Mozartina.”

Teresa Reichlen’s debut in “Tchaikovsky’s Piano Concerto No. 2″ was commanding, but in retrospect every performance I’ve seen her in she was commanding. She danced in the final piece with Jonathan Stafford, who’s height, thin frame, and princely demeanor reminded me of David Hallberg. Savannah Lowery impressed me with her even turns and lower body strength. Philip must of rubbed off on me–I was also impressed by Faye Arthurs, who among the demi soloists stood out for her balmy gestures.  

Dione and I, by a stroke of luck, were offered the tickets from my friend and boss Greg, from one of the City Ballet soloists. We sat for the first time in the orchestra level viewing box, and giggled excitedly, “I can’t believe our tickets are from her!” During intermission I let Dione meet Philip, Wei and their friend. Dancers were all over the Promenade.

I’ll admit that I got a little teary-eyed during “Serenade” especially since it was my last viewing until spring. Dione and I chatted excessively about the ballet at a post-show desert at Cafe Mozart while a pianist played salon tunes. She gushed about Benjamin Millepied (”Everything he does connects,” she said) and Wendy Whelan. I’ll have to write Greg a “Thank you” card.