It’s possible to sum up today’s NYCB matinee performance in one sentence: Teresa Reichlen rules.

No seriously, she does.

Her gestures, expressions and overall exuberance flavoring Martin’s “The Chairman Dances” was incredible. So incredible, that I want to see her in that role again. I was also impressed with Martin’s choreography.

I own the complete recording of John Adam’s opera “Nixon in China,” and heard the “Chairman Dances” years ago at a concert and immediately hunted it down. It’s perfect to dance to (and I did that often, standing on a chair in the living room a la the Emperors wife in the opera), and perhaps my favorite from the evening. But it would be hard for me to pick a favorite in a show with five ballets.

The first of the five in NYCB’s “World Tour” was Balanchine’s sexually charged “Bugaku.” Two of my favorites, Wendy Whelan and Albert Evan’sdanced the leads. I always hear of people talking about definitive Balanchine, but leaving out “Bugaku.” I’d consider it one of his best. The movement is unrivaled and altogether spectacular. I met up with Philip during intermission, and he fanned himself. “Wasn’t that sexy?” he said.

Wheeldon’s “American in Paris” was next. I’d seen it last season, and it was much better then. The corps seemed a little less-cohesive than on my first viewing. Tiler Peck is always tops, and so is Damian Woetzel.

You should never trust my opinion when I’ve only seen something once. I blasted Martin’s “Valse Triste”a few months ago on first viewing. I watched it again today with Darci Kistler and Jared Angle, and finally I see its strong points. (Now if you could only tie me to a chair and get me to watch “Davidblundertanze” again…)

That life changing performance of “The Chairman Dances” was followed by Alexei Ratmansky’s “Russian Seasons.” I know Tonya’s going to kill me for writing this, but I love, love, love “Russian Seasons.” It’s such a middle-ground work, it’s not too contemporary, yet it’s not completely classical. It retains, almost magically, a wide range of styles. I could watch it five times straight and not get bored.

Wendy Whelan, Albert Evans, Rachel Ruthorford, Rebecca Krohn, Glenn Keenan, Rebecca Krohn, Antonio Carmena, Adam Hendrickson, Amar Ramsar, Jonathan Stafford, Sean Suozzi and Abi Stafford were cast. Albert’s dancing has an incredible amount of “sweep” to it that I like. Rachel Rutherford is always great (the Mobilian’s call her a “princess”). I liked Rebecca Krohn in the role I’d seen Georgina Pazcoguin do previously. They both have their own good qualities, but Rebecca seems a little more controlled.

I’m fond of seeing Antonio Carmena because he’s so sharp and always smiling big and wide. I’m getting the smallest little school-girl crush on Jonathan Stafford and his princely presence.

I attended the show with my new friend Myles. My tickets were from a friend, so we were in the first row of the first ring. It was Myles’ first trip to see New York City Ballet, and I think he enjoyed it.

During intermission I met up with Philip, and Evan (from “Dancing Perfectly Free”). We chatted about dancers—Evan said a few were seated in the house. We all noticed how poorly attened it was for a matinee, lots of empty seats. I didn’t see any dancers like my friends, but spotted maestro Faycal Karouion his way to the theatre, listening to an iPod. Myles and I had a post-show dinner at Bistro Cassis(Columbus and 70th), where we dined al fresco on roast chicken and pomme frites.

I have three shows to attend this week, and I’m excited about all of them. Tomorrow I’m attending an NYCB matinee with my new friend, composer Myles de Bastion. Next Thursday, thanks to the kindness of Philip (at Oberon’s Grove ) I’ll be hitting another NYCB performance on Thursday night.

In addition, next Saturday, May 17th, I’ve got two tickets to see TAKE Dance perform.

My favorite music was written for occasions that are irrelevant to me; music written for salon conversation and gossip veiled behind intricate fans. Tonight I gazed out the window, and enjoyed the breeze. I wanted perfect and appropriate music to compliment the glow of my lamp and the cityscape.

I knew the perfect piece.

I had pleasure of meeting and interviewing Kenji Bunch years ago, who wrote a work especially for the hours after 12 a.m. in New York. I bought a recording of “Swing Shift” about 5 years ago, but never played it so late at night in the city. It’s a very beautiful work, arranged for a string trio. The soft phrases convey an elusive emptiness about night time in the city that I’m just not beginning to feel.

It’s so perfect I can only sigh and wish you all were here.

Just wanted to say Happy Birthday to my fellow-blogger and friend, Tonya Plank!

I called Dione to catch up on ballet-gossip. She pointed me to the latest flux of Daniel Ulbricht videos on You Tube…

The first is my favorite, Daniel dancing alongside Misty Copland in David Fernandez’s “Objects in Mirror Are Closer Than They Appear.”

The other two are from Peter Martin’s“Gopak” and a Stravinsky piece, viewable here  and here.  Mobilians may remember him dancing “Gopak” for audiences, and getting a standing ovation and encore!

My life is so cluttered all the little details slip by. I woke up Saturday morning, and went through the whole day forgetting that I had graduated from college with a Bachelor’s Degree in Print Journalism.

Along with that, this blog has taken a backseat to other pursuits (they will be blogged about when the time is right). But for now, expect a flurry of posts soon. Especially after the ballet on Saturday.

I received a mid-week e-mail from Philip with some good news: Daniil Simkin is joining ABT as a soloist! He’s posted all about it here.

I was so excited when I heard the news that I called Dione up on the phone! When she comes and the season is in, we are definitely going to buy tickets to something he’s cast in!

So I got word tonight that the Bad Boys of Dance (yes, the one with Rasta Thomas!) will be coming to Mobile next season for a performance presented by the Mobile Ballet!