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May 7, 1999

You notice the legs first; endless limbs that narrow to long eloquent pointes. Then there is the musicality, technical assurance, and charming but regal stage presence. Right from the beginning, New York City Ballet's Maria Kowroski could do it all.

Kowroski danced her first major role in the Spring of 1996 at 19 after studying two years at the School of American Ballet, appearing as the evil Siren in Balanchine's Prodigal Son. It was a debut her boss Peter Martins called one of the finest he had every seen. She quickly assumed some of the most privileged Balanchine roles in the repertoire -- the lead in Swan Lake, the second movement of Symphony in C, Titania in Midsummer Night's Dream, and Terpsichore in Apollo.

Immediately the Michigan native was compared with company legend Suzanne Farrell as they shared similar physiques and a beguiling mix of sensuality and innocence. Kowroski can cause giggles as a girlish harp in Robbins' Fanfare or sighs as the dreamy one in Liebeslieder Walzer by Balanchine.

She excels in both the company's abstract creations (Agon, Four Temperments, and Ancient Airs and Dances) and costume ballets (Vienna Waltzes, Western Symphony and Union Jack).

Kowroski also had the benefit of a strong partner. Her first performances were helped immeasurably by the presence of Igor Zelensky, whose gentle handling made the young ballerina appear only more feminine and mysterious.

Since the Russian left for Europe, Kowroski has danced mostly with Charles Askegard and Robert Lyons. She and Askegard made a splashy television debut in the Russian dance in Wednesday's "Live from Lincoln Center" broadcast of Swan Lake and the pair take their turn in the staring roles in Saturday's matinee.

Kowroski will appear in Agon (second pas de trois), L'Histoire du Soldat, and Firebird during NYCB's Stravinsky Festival next week.--Dale Brauner

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