Pirouettes, pointes and pliés were in abundance during A Gala Evening of Ballet performed by dancers from the New York City Ballet and the Ballet Theatre at the Ruth Seaton James Auditorium. The Bermuda Festival offering on Tuesday night was an interesting and insightful counterpoint to the modern dance performances of the previous week.

The classic choreography of George Balanchine and more recent works of dancer- choreographer Tom Gold enabled the dancers to demonstrate their virtuosity in an awe-inspiring manner.

The programme opened with 'Minkus Pas de Quarte', billed 'a classical romp for four virtuoso dancers'. Set to the work of Ludwig Minkus, appointed Court Ballet Composer of the St. Petersburg Imperial Theatres from 1872-1885, it was in the style of Minkus' colleague Marius Pepita. Choreographer Tom Gold incorporated all the grace and elegance of classical ballet into a work that was full of joie de vivre. In pastel tutus that suggested confetti, the female dancers seem to float above the floor, while the male part, danced by Mr. Gold himself, was characterised by gravity-defying leaps and twirls.

The second piece, 'Apollo' by George Balachine, set to the music of Igor Stravinsky, was the piece that brought Balanchine international recognition at the age of 24. The light and airy piece explores the relationship between Apollo, the god of the sun but also of music and the arts, and three muses, Calliope (poetry), Polyhymnia (Mime) and Terpsichore (dance and song). The dance, a clever combination of movement and still-life, interpreted the music so closely at times you could almost see the notes, and incorporated iconic images such as Botticelli's 'Three Graces', Michelangelo's 'Creation of Adam' from the Sistine Chapel and classical paintings of the god in his chariot. Solos, exquisitely performed, celebrate the characteristics of each of the muses. At the same time, the dance emphasises their interconnectedness with passages that brought to mind a celtic chain come to life. The piece ends with the muses pulling Apollo in his chariot and a stunning vignette of all four dancers forming the rays of the sun.

The second half of the programme opened with a Tchikovsky Pas de Deux, intended originally to enrich the part of Odile in Act III of 'Swan Lake'. Lifts and leaps characterised this exuberant demonstration of ballet virtuosity a flamboyant candenza of dance.

'Mad About the Boy' choreographed by Tom Gold, concluded the evening with a note of humour. It is set in a manor house in the English countryside in the 1930s, but could just as easily represent a weekend in a Long Island mansion. Sung by Joan Barber, accompanied by Susan Walters on piano, the piece is a series of songs interpreting the state of mind of the different characters the parlourmaid and butler and the well-to-do hostess and her house guests as relationships form and disolve, leaving the parlour maid alone with the bottle of wine when the hostess runs off with the butler. Interesting choreography expressively executed characterised this entertaining close to a very enjoyable evening.

The programme promised to be a gala, and it didn't disappoint. If apparent effortlessness is the characteristic of true mastery, then the magic performed on Tuesday evening was evidence of masters of the art of dance.