New York City Ballet.

New York State Theater, Lincoln Center New York, New York January 7-March 2, 2003.

At first the schedule looked skimpy: only three new works in a winter repertory season of fifty ballets. But in a way this held a benediction, because there were generous opportunities for interesting and varied casting in familiar works. There was also the chance to focus on the dancing of the incredibly resilient and, one might add with awe, tough dancers of New York City Ballet.

The Richard Rodgers Centennial inspired two premieres, Thou Swell by Ballet Master in Chief Peter Martins and Carousel (A Dance) by resident choreographer Christopher Wheeldon (see Dance Theater, Dance Magazine, June, page 69). The charm of Wheeldon's ballet lies in its simplicity and in the exquisite pas de deux for the principals, Alexandra Ansanelli and Benjamin Millepied. They danced as though born to it--and to each other.

In no more than ten minutes, Wheeldon used key music from Carousel, orchestrated by William David Brohn, to underlie the poignant story of the doomed lovers. From the instant the curtain rose to reveal a carousel reflected on a scrim with merry-makers strolling behind it, one was caught in the chiaroscuro mood. The strollers, led by Rachel Rutherford, Arch Higgins, Pascale van Kipnis, and Seth Orza, deftly underscored the mood. The lovers-to-be came together to waltz, magnetized and alone. Then the stage filled again with revelers, this time circling and holding onto golden poles. Within his relatively brief career, Wheeldon has systematically freed himself of many of the outside stylistic influences that plague young choreographers. He has also learned to make sensitive casting choices.

Martins tends to use his dancers as they come, rather than luring them to new emotional levels. His Thou Swell is a production number in which the multilevel set by Robin Wagner, costumes (well on their way to garish) by Julius Lumsden, and live orchestra overpowered the choreography. Yvonne Borree and Nilas Martins, Darci Kisfler and Jock Soto, Maria Kowroski and Charles Askegard, Rachel Rutherford and James Fayette were guests at a turn-of-the-century boite. They were accompanied by Rodgers and Hart songs interpreted without much flavor by Debbie Gravitte and Jonathan Dokuchitz. Paul Gemignani conducted. Perhaps additional performing will provide the pungency that Thou Swell now lacks.

The season was filled with fresh interpretations, even in oldies such as Balanchine's Serenade (1935) and Concerto Barocco (1941). In Barocco it was a revelation to see Wendy Whelan freed of her usual acrobatic assignments and looking very handsome in the classicism of a Bach concerto. Her serene presence was an effective contrast to Jennie Somogyi's light touch. New to Serenade was Sofiane Sylve. Her over-worked smile seemed oddly out of place. Perhaps exposure to performances by Kistler or Kyra Nichols may inspire her to let the choreography take over. Other performances were enlivened by Kowroski's assured classicism, Janie Taylor's delicacy, and Askegard's courtliness.

Performances of Jerome Robbins's Fancy Free (1944) were at opposing ends of the spectrum. With Tom Gold, Kipling Houston, and Damien Woetzel, it was vintage Robbins--feisty yet sweet. Sailors Higgins, Millepied, and Daniel Ulbricht had rough edges. In the one cast, Deanna McBrearty, van Kipnis, and Rebecca Krohn were a match for their men. In another, Amanda Edge, Rutherford, and Krohn were more observers than catalysts.

Angelical manners glinted through Balanchine's Vienna Waltzes (1977). There are more than fifty dancers in this glorious work, but the exchange between soloists and corps remains at all times clearly drawn. AT THE END, WITH THE WOMEN CURVING AROUND THEIR PARTNERS LIKE INVERTED CALLA LILIES, EACH DANCER STOOD OUT AND CAPTURED ONE'S GLANCE IN Ills OR HER OWN WAY.

The New York City Ballet dancers are not, on the whole, sentimental. They can even be a little cool, as they seem to appraise themselves while performing. But this season found them for the most part yielding wholeheartedly to each choreographer's bent and to the zestful beat of conductor Andrea Quinn.