The Seattle dance community filled McCaw Hall on June 7 for the farewell performance of Louise Nadeau, principal at Pacific Northwest Ballet for 17 years. The two-and-a-half-hour programme featured 10 excerpts of Nadeau’s favourite roles, plus William Forsythe’s Urlicht, acquired especially for this occasion.

The works serve as an apt catalogue of the qualities Nadeau brought to the stage: the serene purity of Serenade, the line and refinement of La Valse, the lyrical joy of Emeralds and the merry romp of Rubies, the nobility of Chaconne, the sassy snap of West Side Story Suite, the sacred depth of Urlicht, the stamina and intensity of La Sonnambula, the passion and humour of In the Night, the radiant extension of A Midsummer Night’s Dream, and the delicate precision of Swan Lake. All that was missing was the iron strength of her Agon pas de deux (recorded for the Balanchine Foundation’s Interpreters Archive series) and the wit of her Merry Widow.

Nadeau shared the lead roles with fellow company members, who, after an exhausting season of 17 ballets (10 company premieres), mustered energy for one final, sparkling performance. Urlicht proved to be the evening’s highlight: Nadeau and Olivier Wevers achieved seamless, fluid lifts, as Nadeau called upon the solid technique, intelligence and determination that have made possible her 26-year career.

At 45, she seems to be at the peak of her abilities; indeed, her June 2009 performances – which included four pieces new to her repertoire – figured among her best. Emotions ran high during the 10-minute standing ovation at the end. Nadeau brought her heart and her musicality to every role, season after season. She sought the perfect beauty residing in each ballet, and she shared it with us. ★★★★★