Program IV commenced with Concerto Barocco, George Balanchine’s choreographic depiction of the grace and intricate precision of J. S. Bach’s Double Violin Concerto in D minor. This seminal work features a Corps de Ballet of eight ballerinas, who remain onstage throughout, and a male lead dancer popping in and out of the action to engage the lead ballerina in a succession of elegant pas de deux – in the Sunday matinee performance I attended, stylish Jennifer Kronenberg and her pas de deux “steady“within the company, the photogenic Carlos Guerra. One of Concerto Barocco’s many delights is how the Corps de Ballet is cleverly incorporated into the lead couple’s pas de deux, the danseur at one point partnering the entire Corps. Another highlight was the performance of the striking and charismatic Andrea Spiridonakos as the piece’s un-partnered second lead ballerina. Even dancing in the Corps de Ballet, as she did later in the program, Spiridonakos has the capacity to rivet your attention.

Next on the bill was the company premiere of Jerome Robbins’ In the Night, a setting of Chopin piano nocturnes for three couples, in the form of three pas de deux and a fourth movement incorporating all three sets of partners. In the Night is the latest of four Robbins works now a part of the Miami City Ballet repertoire.

Staged against the backdrop of a starry, night sky, the production featured MCB’s music advisor, Francisco Rennó, playing Chopin’s lushly romantic piano scores from a corner of the orchestra pit. In the lushly melancholic first movement, willowy and dramatic Jennifer Lauren, a MCB Corps dancer, made the most of a featured turn partnered by the sure-handed Daniel Sarabia. The second movement evoked the breathless romance of a Russian military ball with MCB favorite Deanna Seay partnered attentively by the dashing young Carlos Quenedit. The highlight came in the third movement, however, in the form of an inspired Jeanette Delgado dancing with fetching abandon with the always impressive Renato Penteado. The pair perfectly rendered the sizzle and humor of Robbins’ quirky choreography depicting the histrionics of a pair of fiery, high-strung lovers. The fourth movement begins as a succession of self-enclosed pas de deux by the three pairs, and then segues delightfully into a passage where the dancers greet each other and interact as if mingling at a party.

Program IV concluded magnificently with Balanchine’s monumental show-stopper, Symphony in C, set to Georges Bizet’s Symphony No. 1 in C major. Each of Symphony in C’s four movements is treated, in effect, as a self-enclosed ballet, with its own lead ballerina, male lead dancer, featured ballerinas and Corps de Ballet. Highlights of this massive and dazzlingly detailed MCB production included the second movement’s smoldering performance by Patricia Delgado, Jeanette’s older sister, ably partnered by Rolando Sarabia; the third movement performance of Jeanette Delgado, exuding sheer joy in dance along with the affable Alex Wong, a gifted leaper with impressive hang-time; and the endearing, petite Katia Carranza, dancing up a storm in the fourth movement. Symphony in C builds to an amazing crescendo as all the various musical and choreographic motifs culminate in 48 dancers on stage simultaneously dancing with eye-popping speed and precision in a breakneck finale. Symphony in C is one of Miami City Ballet’s most rousing and technically impressive one-act pieces, and not to be missed.

Edward Villela, MCB artistic director or staff will present a pre-performance talk to audiences 55 before curtain in the theatre.  Liz & Tony encourage buying tickets to both parking and performances ahead of time, as MCB sells out quickly.