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The seven groups in the first half of the program, in regulation leotards of blue, teal and scarlet, stretched, beat and jumped their way into collective affection. The focus of the young girls was amazing, but when two or three evinced sheer joy of performing with the aplomb of mature performers, it was even more astonishing. Some, naturally , were sober as judges, but the occasional flash of pleasure and evidence of assurance was warming to behold. Of 113 students counted participants of the first six levels, almost one fifth were Asian, one clearly Indian in parentage; one bearing the intriguing name of Vishnu could have been Thai. All comprised a beguiling melting pot.

The second half of the program included Bournonville’s Konservatoriet (1849) staged by Peter Brandenhoff; Balanchine’s Western Symphony(1954) with Nicholas Blanc’s essay Amplitude Goldberg (2006) for six adept senior students sandwiched between the two masters’ works.
 

As in 2005 using a Balanchine finale provided youthful energies a strong outlet and a challenge within the grasp of adept students, who rose with gusto to the occasion. Konservatoriet was a different matter, since both period and style are outside everyday training at San Francisco. Unlike Napoli there is a strong sur la place exposition in Konservatoriet requiring steadiness not always evidenced in the young principals. Peter Brandenhoff believes Bournonville training needs to be incorporated in a daily technical regimen and it is not in San Francisco. The male students fared better, notably Diego Cruz Alvarez (May 10) and Christopher Mondoux (May 11) as the Dancing Master. In demi solo passages Ilan Kav, Asahi Yoshida (May 10) and Ken Koyama and Kevin Yee-Chan (May 11) distinguished themselves.

Western Symphony, like Stars and Stripes the year before, allowed the students to kick up their heels and frolic like professionals. The second movement provided the best opportunity for the men to display aw shucks which Kevin Yee-Chan (May 10) delivered with a grin and Ilan Kav (May 11) with understated sagacity; May 11 Alexandra McCullagh’s, the would be love, provided several smiles to the strains of Red River Valley. Suzy Spaulding (May 10) seemed subdued. If neither Ludmila Campos(May 10) and Kelsey Hellebuyck (May 11) in the fourth movement managed Tanaquil LeClerq’s original insouciant wit, they understood how to prance and execute grand ronds de jambes or pick their way en pointe accented by strong hip wiggles left and right. Both Christopher Mondoux(May 10) and Diego Cruz Alvarez (May 11) handled their turns easily. In both night’s finale Ashley Mauanmaithong and Kazuki Ichihashi pranced and spun with gusto.

Amplitude Goldberg demonstrated Nicolas Blanc as a choreographer in the making. I would not be surprised if Helgi Tomasson decides to include it in the 2007-2008 season. The two student performances permitted the audience a glimpse of two exciting young dancers in the leading female role: Ashley Muangmaithong, with lean, stretched muscles complementing the linear demands of the choreography, and Hedeko Karasawa, smaller with intense fleetness and individual attack; both displayed distinctive aplomb. On a par were Ilan Kav and Diego Cruz Alvarez.
 

Amplitude is as intricate as the variations, employing at least two interludes of silence, starting, then the second displaying the dancers in silhouette upstage left before the final onslaught of music and speed with the final pose downstage right complimenting the prior interlude. Blanc’s visual proportion, architectural shapes and use of space are singularly interesting, giving the viewer a feeling of discovery. I hope to revisit the discovery again.

Special mention needs to be made of Kazuki Ichihashi, a small, compact young man with bleached hair and a spinning top capacity in the true character dancer tradition. I’ve not seen a male virtuoso to catch my imagination so clearly since Kelly Teo gave his all at Diablo Ballet. You could see Ichihashi as the Boy in Blue in Les Patineurs; Blue Bird in Sleeping Beauty; any number of divertissements in Nutcracker’, possibly Alain in La Fille Mal Gardee and doubtless parts in Bournonville. I hope both his size and talent receive due professional appreciation.