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Immediately flowing is the choreographer’s strong lyrical ensemble phrasing, whose geometrics set up thrilling duets, trios and quartets. Alexander Iziliaev and Francis Veyette in brown shorty tights joined by Amy Aldridge and Lauren Fadeley to state the balletic themes and a phalanx of ballerinas in drop bodice magenta tutus flood the stage and Quanz’ aggressively taps Mozart’s gushing musical fount.

The 3^rd movement, with Jermel Johnson, Aldridge and Fadeley, unfolds in abbreviated vignettes, each more crystallized as it progresses. His men’s quatrain, with double tempo vivace displayed tight unison from the men (even with some dropped steps). This style brings specious comparisons to George Balanchine, but in fact, a piece like this proves how non-derivative Quanz’s work is.

Quanz’ central pas de deux, danced on opening night by a luminous Riolama Lorenzo and Sergio Torrado, is thrilling dance drama and diamond cut technique. Torrado, at first in repose with the men’s corps, steps into Lorenzo’s powerful aura, suddenly this is a lover scenario. They are hypnotic with technical clarity and brilliant pacing. Nothing is rushed and they were so synced that there was no limb trembling during intricate pirouette and arabesque variations. The pair exuded chemistry throughout like screen stars. Quanz's ‘Jupiter’ kept blooming on this company.

Lorenzo was back with Veyette and Joachim Crespo Lopes, a rising star, for Matt Neenan’s ‘Penumbra’ and ‘Pampeana No. 2’ named for cello piano suites by Alberto Ginastela. The metropolitan scenario with grand piano and cello at the side of the stage with the woman in cocktail gowns and the men in relaxed tuxes, suggested a hot - house social scene. Neenan gets right in there in a way that Tharp only suggests in ‘nine Sinatra songs.’ This is not just a dance trio, but a menage a trois.

Even though Neenan seemed ponderous, he quickly dashes off sardonic and even furious dance phrases for the five players. Some with his signature anti classicalism and campy moves. Here they are less decorative, and have a nuanced hostility. ‘Penumbra’ is more sinewy, subversive and dancer centric. Lopes, casting the specter of Edward Vilella circa 1962, executes an agitated solo as the jilted player. One moment the intimacy is as light as a Truffaut film and then Neenan will freeze frame on an Albee-esque nightmare.

Neenan’s urbane mores get completely stripped down in part deux as three ballerinas slink in silhouetted amber resembling a Fosse kick line. There is a fetishta ennui, with the women in fleshy bustiers and the men in high draped black dance togs with crushy hip-flaps (I think he borrowed them from Mark Morris). Martha Chamberlain and Ian Hussey engage in completely mesmerizing ways and are otherwise sleek and technically thrilling. Johnson unfurls his body in backward pirouette sequences (with the lifted leg in back of his torso) and his acceleration and elevation in the air continues to impress.

The program is rounded out with Christopher Wheedlon’s ‘Carnival of the Animals’ which is such a lark that it attracts children to sit through long ballet programs. Wheeldon’s sense of character and comedic dance may be basic and predictable, but always charming. Narrated by John Lithgow, the very dance ready Peter Weil is the game young man who unlocks all of the cages. So there is a turtle can-can, lion danseur, mermaid gypsy line, baboon piano instructor, pugilistic mice and literally skeletal corps de ballet.

The highlight was actually a human. It was Ms. Lorenzo as The Swan, playing an arts matron who is watching the skeleton ballerina ballet. Lithgow introduces her as a retired dancer who triumphed as Odette-Odile, but, this being a Camille Saint-Saens score, she then gives her interpretation of the ‘Dying Swan.’ A beautifully, heartbreaking rendition, which Wheeldon unspools off the Fokine’s famous choreography.