First came the 1976 version of Balanchine's Square Dance, which stripped down the 1957 original that used a caller in this ode to an American social dance tradition.

The piece is set to string-heavy baroque music by Corelli and Vivaldi (nationally known composer Lowell Liebermann conducted), which at times in rhythm and tempo reminds one of that square-dancing music staple, the fiddle.

Initially, the formation and partnering and group work that identify square dancing are obvious inspiration, but with Balanchine's trademark emphasis on line. It breaks down into more serious duets and solos (Andrey Prikhodko and Mariya Kudyakova are the stars here).

In the corps segments, unisons were just a tad imperfect, which is especially noticeable in a work inspired by such a kaleidoscopic, symmetrical brand of dancing. But Prikhodko's solo was intense and focused.

Webern Pieces, set to music by Anton Webern and created when Mejia was co-artistic director of the Chicago City Ballet with Maria Tallchief, seems inspired by jazzy-sexy '60s cabaret dancing (think Funny Face's Audrey Hepburn in the Gap).

It begins with the black-clad Olga Pavlova under a strong, golden light doing wiry arm work, with Yevgeni Anfinogenov crouched behind her, watching. They soon lock for a breathtaking pas de deux filled with dramatic pauses, remarkably angular positions and striking arm work that was probably influenced by Balanchine. It ends with a stunning lift.

The key here is that even in their breaks, there's an air of sexual energy, even though they don't always connect. Both dancers conveyed this beautifully, and appropriately didn't anticipate the dissonant music (played by pianist Liebermann, violinist Eric Grossman and cellist Eugene Osadchy) and its improvisational feel.

Balanchine's 1928 work Apollo, considered a 20th century dance masterpiece, closed the evening. It was his first collaboration of his long association with composer Igor Stravinsky, and showcases Balanchine's penchant for simplicity and line.

Prikhodko is the Greek god Apollo, flanked by the muses Terpsichore (Pavlova), Polyhymnia (Marina Goshko) and Calliope (Kudyakova).

It is purposefully slow and contemplative, this nod to artistic inspiration, and the dancers' mechanical expressions and movements made for a faultless match.

GRADE: A-

© Copyright 2006 The Fort Worth Star-Telegram