The most obvious, and pleasurable aspect of New York City Ballet’s mixed bill Hear the Dance: America is its juxtaposition of two very different works by Jerome Robbins.
If Harlequinade is somewhat less than the sum of its parts, Square Dance (1957), which preceded it on the program, never fails to lift the heart.
It is hard to know where to start with “Baroque’d”, Ballet Next’s latest season, but it’s safe to say Something Sampled, one of the program’s three world premieres, is, for better or worse, what most people will talk about.
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…
America’s oldest ballet company, San Francisco Ballet, opened its eighty-second season with a triple bill that encapsulates the uniquely varied repertory developed by artistic director Helgi Tomasson…
…Onegin remains a sparkling example of what a narrative ballet is and ought to be.
The Critics’ Circle National Dance Awards for 2014 took place today in London at The Place’s Robin Howard Dance Theatre.
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.