"[3] Maria Tallchief, who originated the lead ballerina role, noted both the ballet's "expansive Russian romanticism," and the fast speed of some of the choreography.

[1] Author Nancy Reynolds commented that the ballet "offers a chance for virtuoso display and is at the same time 'dancey' and flowing".

She added that while the tempo of the score made the ballet seem "impossibly difficult", Balanchine strategically placed exits for the performers so most dancers find their roles easier.

The lead ballerina, according to Balanchine, "follows the piano in the cadenza", while her partner and the corps de ballet play the supporting role in conveying "what I hope is the spirit of the work.

"[3] Dancer Violette Verdy described the lead role,There's a lot of strong, broad dancing spaced in very little time.

But if the ballerina is afraid that it will not produce enough of an effect by itself, if she feels she has to compensate by telling the audience that it is hard, a false drama is created.

[6] Due to its small cast size and short length, the ballet is often placed in the middle of a mixed bill when performed.

The performance was led by Suzanne Farrell and Peter Martins, and the corps de ballet consisted of Renee Estopinal, Lisa de Ribere, Marjorie Spohn, Heather Watts, Tracy Bennett, Stephen Caras, Victor Castelli and Joseph Duell.