Tcherkassky in a Poetic, Graceful Farewell

For years, American Ballet Theatre has had on its roster, among the international stars, a number of home-grown dancers who have reliably kept the torches burning as Juliets, Giselles and Swan Queens.

Marianna Tcherkassky, who ended her distinguished 26-year career with ABT on Thursday in the Dorothy Chandler Pavilion, was never merely reliable, but she was never less than that. Her name may not have been the box-office magic it should have been, but among discerning balletomanes, a Tcherkassky appearance guaranteed poetry, insight, warmth, humanity and technical ease.

She showed all these qualities and more at undiminished intensity in a lyric pas de deux from Antony Tudor’s “The Leaves Are Fading” and in leading the ensemble in Lar Lubovitch’s “A Brahms Symphony.”

At 43, she still projected the youthful idealism of a teenager discovering the sweetness, commitment and complexities of love in the Tudor excerpt, partnered strongly by Keith Roberts. Roberts is an excellent dancer, and it is meant as no criticism to say that he mirrored the movements of her soul as if not quite able to articulate them. The reason for the bonding of the two lovers unfolded in front of us.

Of all Tcherkassky’s qualities, you can focus on one in particular for Lubovitch’s ballet: her singing line. Where other even very good dancers often phrase and move in four- or eight-bar segments, Tcherkassky knows and effortlessly traces the longer trajectory that here matched Brahms’ spun-out asymmetrical Romantic line.

Tcherkassky’s departure leaves a gap, and her choice to end her career here was a gift to Los Angeles that the audience acknowledged with affection.

The other changes from the previously reviewed opening night cast were Julie Kent and Angel Corella as the principals in George Balanchine’s “Theme and Variations.” Corella took over for an injured Jeremy Collins. Both Kent and Corella had danced the ballet but never together.

It was a promising but not ideal partnership. She was crisp, clear, sharp, perhaps even brittle. He was lyrical, boyish, virtuosic in elevation but unfinished. Both had some technical difficulties in this supremely challenging work. The choreography is sufficient to wow us.

* American Ballet Theatre dances “Don Quixote” today at 2 and 8 p.m. and Sunday at 2 p.m. at the Dorothy Chandler Pavilion, 135 N. Grand Ave. (213) 365-3500. Tickets: $15-$60.