The New York City Ballet has returned with all its relevance, strong and modern. The dancers are not "stingy." They are not "holding back." They exist in the "now," "right now." Balanchine would be proud.
Among the many standout soloists, principal oboist Rita Mitzel masterful with the exploratory, almost jazz lines, that surf the orchestrals. Powerful delicacy and thrust in the strings toward a gallopy finish, but, crucially, not overdone.
Yannick Nézet-Séguinmost most appealing trait is the keen aggression he has, tempered by superb restraint. Add to that his youthful enthusiasm and openness, his will to succeed and the friendly and positive mood he inspires in the orchestra members, and you've got a winner.
The pipe organ has always been an evolving beast, a breathing mechanical thing that has only gotten smarter with time. Once again it emerges as "The King of Instruments," and Christopher Houlihan is its youngest and most promising interpreter.
Saturday marks the 100th anniversary of the premiere of Maurice Ravel's "Mother Goose" ballet suite. Just in time for its centennial, a Ravel scholar has discovered that orchestras have been playing the piece incorrectly for the past 100 years.