Paul Parish's review of SFB's Programs 3 and 4 reflects my experience, too, though I think the company is even sharper and more "on" now than it was on opening nights. Paul's review is here:http://www.ebar.com/arts/art_article.ph ... rticle=179
Like Andre Yew, I think Classical Symphony could be SFB's calling card anywhere in the world. Maria Kochetokova is extraordinary in her airborne lightness, but she can also "get down," as Yuri Possokhov's inventive choreography demands. But the whole company shines in Classical Symphony, as it does in Artifact Suite, which is now part of the company's DNA. Sofiane Sylve is magnificent in the lead, but the whole company is on display here, and it looks strong and vibrant. Forsythe may not be everyone's cup of tea, but SFB dancers respond to him here with complete commitment.
The revelation of the past 10 days for me, however, has been Sarah Van Patten. In Nanna's Lied she was innocent, fresh, furious, despairing, and it's not just her famous "acting" that conveys complex feelings: it is her dancing. In Winter Dreams she brought a lyricism and vulnerability that was even more affecting than Darcey Bussell's filmed performance--and Macmillan created the piece on Darcey, one of my favorite dancers. The exquisite Tiit Helimets was Sarah's smitten partner.
You can still catch Programs 3 and 4 at the Opera House this Tuesday and Wednesday, and then this wonderful series will end. As Paul Parish says, "right down to the dancers in the back row, the talent is simply phenomenal."