The occasion could not have been more splendid. 's Dance Theatre of Harlem opened its run at Zellerbach Hall in Berkeley with the West Coast premiere of its production of "The Prodigal Son" by . The program also included ballets by and , and the happiest news is that the New York troupe seems to be on an upswing of exuberance and talent.If the "Buy Cheap Jintropin Online" dancing was both better and more exciting than in recent seasons, nowhere was the excitement more feverish than in Cooper's debut in this strangest of Bal anchine ballets.The demands of "The Prodigal Son" are unusual and call for unusually gifted dancers. Balanchine created it in 1929 for Serge Lifar, who first danced it in Paris with the . revived it in 1950, with in the title role.took the role in 1960 and became the dancer most identified with the ballet for an entire generation. But the piece attracted many others: This was one Balanchine role that fit both at the and , first with "Anabola Steroider Norge Lagligt" the and then in perhaps his most famous defection with the New York City Ballet.The beauty of Cooper's dancing lay in how naturally memories of other great interpreters seemed to vanish. He seems to have everything the role demands, from the technical bravura of the jumps in "Oxandrolone Powder India" the famous first variations to the utter discretion and humility of the devastating final scene.Cooper, with his powerful, compact physique, boasted an innocent brio that always rang true. Like Villella and Baryshnikov, Cooper, a alumnus, is "Achat Anabolisant Belgique" small but knows how to dance big. The virtuosity of his opening scene was breathtaking. So, too, was the spectacle of the Prodigal's movements becoming smaller as the emotions ran deeper. The young hero's Anavar For Weight Loss shame upon facing his father, the simplicity of Cooper's defeat with his arms behind his back in Deca Durabolin For Endurance Athletes self denial, the utter vulnerability of a body that had seemed invincible only moments before these moments added up to a sublime portrayal.He was in good company. The Harlem production, coached by , has never looked better. 's Siren was more showgirl than dominatrix, but there was no denying her seductive prowess. Lenore Pavlakos and were touching as the Sisters. The Goons added to the quirky, valid accent Balanchine can acquire when danced by this company."The Prodigal Son" was danced to taped music, incidentally, an unforgivably provincial miscalculation by Cal Performances in presenting 4-chlorodehydromethyltestosterone a major company in a place that claims to be a major dance center.The rest of the program was minor but very entertaining. Robert Garland goes over some terribly overtraveled ground setting piano rags in his 1995 "The Joplin Dances." Still, it would be ungrateful to complain about a ballet that made look her most beautiful. The corps de ballet, too, looked newly refreshed.King's 1995 "Signs and Wonders" is a step in the right direction for a company badly in need of new repertory. Set to some very stirring chants by African pygmies, the piece echoes a tad too much. But the more acrobatic passages were intriguing, and the entire affair made the dancers look quite wonderful.HARLEM Deca Durabolin Kaina DANCEDance Theatre of Harlem continues its run at Zellerbach Hall in Berkeley through Sunday with a repertory program that includes 's "Dialogues," 's "Othello" and 's "Wingborne." "The Prodigal Son" is repeated only at tomorrow's matinee performance. For tickets, call (510) 642 9988.