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.
The ballet radiates warmth, but also an awareness of death….
McBride joined the New York City Ballet in 1959, and two years later, at the age of 18, she was promoted to the rank of principal, becoming the youngest principal dancer in the troupe’s history.
Suzanne Farrell Ballet – Swan Lake, Monumentum Pro Gesualdo, Movements for Piano and Orchestra, Allegro Brillante, The Concert – Washington
It’s hard to imagine a better program to showcase the power of ballet as an expressive art than Suzanne Farrell Ballet’s impressive offering for its annual season at the Kennedy Center.
Having wowed London with three acclaimed seasons over the last six years, at last the Mikhailovsky Ballet make their American debut in NY. Lisa Snyder introduces the company and its repertoire…
“…it’s hard not to get the impression that New York City Ballet is on a roll.”
We catch up with Septime Webre, choreographer and artistic director of Washington Ballet. So what makes him get up in the morning? Oksana Khadarina finds out…
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.
Sutton was originally asked to write a brief account of Markova’s career for the Gotlieb Centre but soon realised that her subject’s life, personal and public, was so fascinating that she undertook a substantial biography
Viktoria Tereshkina has a warm personality and this enhances her dancing. She has long thin limbs and offers expansive port de bras, while her legs whip up effortlessly but with control.
If there’s one thing you can say for Yuri Grigorovich’s 1968 ballet Spartacus, it’s that it gets its point across loud and clear.
Boston Ballet – Program B: Symphony in Three Movements, L’Apres-Midi d’un Faune, Plan to B, Bella Figura – New York
…the dancers seem able to handle whatever comes their way. It’s a quality that will serve them well in their travels.
To fully enjoy Ashton, one has to be willing to acquiesce to one’s own softer impulses, a sense of wonder and perhaps a little nostalgia, and to surrender the loveliness of small things.
Justin Peck has gone from unknown corps-member to choreographer-of-the-moment in a blink of an eye. (He created his first piece for the company in 2012; this is his sixth.)
Both as a tribute to Ashton and as a coming-out party, it’s hard to imagine how the festival could have gone better. The ballets are in good hands.
The gala formula really worked. An eclectic selection of dances – six duets and three short ballets – offered something for almost every taste…
The task Johnson faces is complicated, full of potential pit-falls. In these early seasons she is working to define the company’s character, while helping the dancers to hone their classical training and shine as individuals.
Two young NYCB choreographers have been out talking and showing what they do: Justin Peck at the Guggenheim and Troy Schumacher at the 92nd Street Y. Marina Harss on why they are so worth tracking…