Intermezzo Makes Its Debut, at the 92nd Street Y Intermezzo's cast included from left, Kaitlyn Gilliland, Shoshana Rosenfield and Kurt Froman. Every so often, a dancer from a major ballet company makes an entrepreneurial move, branching out from the institutional ranks with a strong-minded project. In 2011, Michele Wiles left her principal position at American Ballet Theater to found Ballet Next with the former New York City Ballet principal Charles Askegard. In 2010, Troy Schumacher, a corps dancer with City Ballet, helped to jump-start BalletCollective, which encourages multimedia collaboration. The latest such endeavor comes from Craig Salstein, a Ballet Theater soloist, whose chamber company, Intermezzo, made its debut on Friday at the 92nd Street Y. So far, this is not a vehicle for Mr. Salstein's work; rather, he's a catalyst, bringing together dancers, choreographers and what he calls, in a mission statement, "the great composers." New ballet paired with time-honored music seems to be the conceit. That broad idea could go in many directions, including no clear direction at all. Five choreographers contributed to the inaugural concert: Raymond Lukens; Lisa de Ribere; Adam Hendrickson; and two Ballet Theater dancers, Marcelo Gomes and Gemma Bond. All used the music of Verdi, played live by the Wyrick Quartet. But despite that common denominator, the evening lacked cohesion, both among dancers and choreographic voices. It felt like a loose beginning, something that, while trying hard to look finished, doesn't yet know what it is. The cast of 10 ranged from the 15-year-old Aran Bell - whose earnest efforts, however unintentionally, intensified the frequently bland choreography - to Stephen Hanna, formerly of City Ballet and the Broadway musical "Billy Elliot," who has about three times Mr. Bell's muscle mass. Perhaps because of their varied backgrounds, the dancers rarely seemed like a unified whole. They came closest during the spirited finale, by Ms. Bond, set to the last section of Verdi's String Quartet in E minor. Ms. de Ribere, Mr. Hendrickson, Mr. Gomes and Ms. Bond each tackled one part of the score: promising in theory, jumbled in practice. Ms. Bond deftly shuttled the ensemble between architectural states: now crouching and floor-bound, now forging through space en masse. The program opened with Mr. Lukens's "Veils," set to music from Verdi's opera "Un Ballo in Maschera." And a masked ball it was, complete with eye masks, corsets, a histrionic love triangle and a character's death by strangling. You can imagine that Intermezzo is an intriguing project for Mr. Salstein. To the outside, so far, the results are merely innocuous, neither here nor there.