★★★✰✰ Over two years after her retirement from New York City Ballet, Wendy Whelan remains a sight to behold.
★★★✰✰ Alongside George Balanchine and Jerome Robbins, one could argue that the third most important voice at New York City Ballet in the twentieth century was that of Igor Stravinsky.
★★★✰✰ Multiverse: McGregor and his dramaturg may know what they want to convey about life and the universe(s) but despite the dancers’ efforts, the result is baffling.
★★★★✰ Structure and meaning lie at the heart of O’Connor’s work. With Undersweet he has achieved a perfect balance.
Philharmonia Orchestra & Armitage Gone! Dance – Agon, Rite of Spring, Symphonies of Wind Instruments – London
★★★✰✰ Esa-Pekka Salonen is conducting London’s Philharmonia Orchestra in a Stravinsky festival, the first concert of which included a collaboration with Karole Armitage’s company on “Agon” – famously originally choreographed by Balanchine…
★★★★✰ New York is a good place to be in springtime.
★★★★✰ (20), ★★★✰✰ (21) The temperature in Glass Pieces was uncharacteristically low. Under the baton of Clotilde Otranto, the orchestra sounded muffled…
There were three débuts at New York City Ballet last night: Zachary Catazaro in Apollo, Russell Janzen in Duo Concertant, and Lauren King in the role I think of as the “jumping girl” in Symphony in Three Movements.
The New York City Ballet spring season is off to the races with a week devoted to George Balanchine, specifically the “black-and-white” ballets that for many have come to define his style.
Oksana Khadarina reviews the Serenade, Agon and Symphony in C bill – prepare for many happy adjectives and lots of history…
More from the NYCB Winter Season with Marina Harss reviewing 2 bills made up of 6 works: Concerto Barocco, The Goldberg Variations, Symphonic Dances, The Cage, Andantino and Cortege Hongrois…
New York City Ballet – Serenade, Agon, Symphony in C, Donizetti Variations, La Valse, Chaconne – New York
In recent seasons New York City Ballet has gotten into the habit of starting things off with a week or two of Balanchine. It’s an excellent idea.
One cannot help but be amazed by the number of exceptional women in the company, and by how differently they approach the steps, the music and the temperament of each ballet.
…offered a perfect Balanchine sampler, bringing together an assortment of ballets, full of unexpected juxtapositions, from very different periods of the choreographer’s long career.
Wherever Virginia Johnson goes, she seems to travel on a cloud, with a kind of regal composure few possess in our day. She appears imperturbable…
After twenty-six years in Miami, Edward Villella is back in New York, just across the East River from his old stomping grounds in Bayside Queens. He was an unlikely danseur, a scrappy kid…
Johnson has a challenge on her hands. So much potential and so much talent; but what is the mission?
In New York one can begin to feel proprietary about Balanchine, to form the illusion that his choreography is a local specialty, the province of a select group of dancers, all of them employees of New York City Ballet. But this is mere local pride.