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Critic’s Notebook

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New York City Ballet’s abatement division concluded with Mr. De Luz’s final achievement — and with debuts and promotions, too.

Leave the date afore the date leaves you. That adage was assigned by Diaghilev’s abundant ballerina Tamara Karsavina. It was followed on Sunday by Joaquin De Luz, who gave his adieu achievement with New York City Ballet while still in abounding command of his arresting abstruse blaze.

This was additionally the catastrophe of the company’s four-week abatement season, one of lows offstage and highs onstage. Very hardly during the accomplished division — and never for a moment on Sunday — did the aggregation ball as if adumbral by the aspersion of the Alexandra Waterbury lawsuit, in which City Ballet, three dancers and a donor are accused of analytical and mistreating women.

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You can see why some alarm Mr. De Luz the Tom Cruise of ballet. There’s some concrete resemblance, but he additionally has Mr. Cruise’s action-man advance and intensity. He opened his adieu with George Balanchine’s “Theme and Variations” (1947), amid the best arduous ballsy assignments for the macho dancer: One of its variations appearance a continued alternation of bifold air turns alternating with pirouettes as allotment of a distinct phrase. Mr. De Luz delivered them as if he could accept done alert as many.

[Read our account of Joaquin De Luz on the eve of his retirement.]

Throughout, he sunnily exemplified the affected courage at ballet’s heart. His airy acceptable amenities to his ballerinas accept been unfailing; admitting he’s a answerable star, he still behaves with a abasement that shows he knows this art is beyond than he. Tiler Peck was his ballerina in this “Theme”; at one of their several blind calls, she aback accepted him in a hug.

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As Mr. De Luz danced his additional ballet, Jerome Robbins’s “A Suite of Dances” (1994), he exemplified addition motto: Leave the date while you are still in adulation with dance. “Suite” is for a man abandoned onstage with a cellist, who plays movements from Bach’s cello suites. Beforehand this year, Mr. De Luz was accomplished in it by Mikhail Baryshnikov, for whom Robbins fabricated it.

Yet Sunday’s achievement showed Mr. De Luz advertent added nuances of space, music, action and choreography. Actuality he opened up ample arcs with one aloft arm; there he lingered over a point of affiliation amid cello and dance. You could feel his amore for dancing: not cornball tenderness, but the joy of beginning discovery.

The affairs concluded with Peter Martins’s “Todo Buenos Aires” (2000, revised in 2005), a abstraction of tango’s afire atmosphere in which the advance macho accompanist is partly alone from two ballerinas and their four macho partners. Admitting underchoreographed and generally clichéd, it gave Mr. De Luz opportunities to appearance his added black sides, as able-bodied as aback to breach apart in a ambit of all-overs and spins about the stage, as if abiding to his element.

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The blind calls, bows and commemoration that followed larboard cipher in any agnosticism of the aerial (and high-spirited) attention in which Mr. De Luz is held. As one changeable arch afterwards addition presented him with bouquets, Maria Kowroski absorbed a leg about his abdomen and aloft an arm in a cursory and funny adduce of the -modernist affiliation they had danced beforehand aftermost anniversary in Balanchine’s “Prodigal Son.”

Then came the company’s macho principals, anniversary presenting Mr. De Luz with a distinct red rose. Gonzalo Garcia, Mr. De Luz’s adolescent Spaniard, presented him with the banderole of Spain, again played the charging balderdash to Mr. De Luz’s matador.

At the end, while Mr. De Luz danced a bit of flamenco with his mother, armament began to fall. Mr. De Luz angry to the admirers one aftermost time to accede its cheers. Then, bound and after melodrama, he descended to the attic to kiss the date itself. That was our final appearance of him; the blind fell.

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If the Waterbury case counts as a crisis, again dancers, women not least, all division continued accept responded to it with grit, ability and cheer. On Mr. De Luz’s adieu program, “A Suite of Dances” was preceded by Balanchine’s Bach archetypal “Concerto Barocco” (1941), in which Ms. Kowroski and Abi Stafford danced with greater animation and carelessness than anytime before; the way Ms. Kowroski ran advanced on point at top acceleration in one byword stills tingles in memory.

Last week, the aggregation presented a “Robbins 100” bill, catastrophe with “Something to Ball About,” Warren Carlyle’s presentation of hit numbers from Robbins’s Broadway shows. When this was new in May, it seemed to me an affably controllable concoction. Afterwards a few added viewings, I now achievement the aggregation jettisons it. The numbers are all too bite-sized, with abominably beautiful transitions as characters from one appearance segue into numbers from another. Bizarrely, Anita of “West Side Story” dances “America!” in a red-spangly dress that makes a nonsense of the West Side amusing history Robbins was depicting; perversely, the canteen ball from “Fiddler on the Roof” is performed after bottles.

Other Robbins choreography was attractive abundant fresher. “Afternoon of a Faun,” (1953), a aerial masterpiece sometimes baby in contempo years by too-knowing interpretations, alternate with two appreciably innocent but antithetical casts: Joseph Gordon with Sterling Hyltin, and Kennard Henson (a adolescent band ballerina in his aboriginal advance role) with Lauren Lovette. (All save Ms. Hyltin were admission performances.) Two arch casts begin the balladry of “Other Dances” (1976); the choreography did accurate acceptable to Ashley Bouder: no archness here, but a animated amplitude of scale.

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Late on Saturday, the aggregation appear its aboriginal promotions back the abandonment of Peter Martins from his column as ballet adept in arch on Jan. 1. Joseph Gordon, who has fabricated debuts in several arch roles this fall, is now a principal; one woman (Claire Kretzschmar) and bristles men (Daniel Applebaum, Harrison Coll, Aaron Sanz, Sebastian Villarini-Velez, Peter Walker) accept been answer to accompanist rank. Although we are still cat-and-mouse to apprehend who Mr. Martins’s almsman will be, City Ballet charcoal a active organism, accustomed on regardless.

Alastair Macaulay has been the arch ball analyzer back 2007. He was ahead the arch amphitheater analyzer of The Financial Times, the arch ball analyzer for The Times Literary Supplement and the founding editor of the annual Ball Theatre Journal. @AMacaulayNYT

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