Watching these three ballets, made over a span of thirty-two years, one can see how Balanchine’s style evolved toward the hyper-stylization of Violin Concerto…
Les Nuits is inspired by the Thousand and One Nights, stories which have come together from Indian, Persian, Arabian and North African sources. Preljocaj is quoted as being influenced by the erotic content of the stories…
George Balanchine’s favorite composers may have been Stravinsky and Tchaikovsky, but it’s no secret that he also had an affinity for France and its music…
Some dancers leave us wanting more. That’s how Jenifer Ringer’s retirement from New York City Ballet feels; we’ve seen so little of her in recent seasons, and she’s dancing so well.
Acheron, Liam Scarlett’s new piece, revealed a choreographer of prodigious imagination and compositional craft, adept at building an atmosphere and suffusing it with traces of meaning.
There is perhaps no better way to start off a season at New York City Ballet than with a performance of Balanchine’s Concerto Barocco.
The Nutcracker – from New York City Ballet, American Ballet Theatre and Gelsey Kirkland Ballet – New York
So far this season I’ve seen three “traditional” Nutcrackers: Ratmansky’s version for American Ballet Theatre, Gelsey Kirkland’s, and the familiar and much-loved 1954 staging by George Balanchine for New York City Ballet. All three have their charms…
This was an evening not to be missed. Newly appointed Artistic Director, José Manuel Carreño, made sure that the quality of the eighteen guest artists for Ballet San Jose’s Gala Performance would tantalise even the most skeptical dance fan.
…very definitely worth catching for an energetic and engrossing evening of dance.
…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.
No sets – just glorious lighting designs playing essential roles in the performances.
The much admired Suzanne Farrell Ballet have just been performing at their Kennedy Center home in Washington – Oksana Khadarina reviews the Balanchine works (Mozartiana and Episodes) on Programme A…
Quite by accident I ended up seeing LINES Ballet’s fall season twice. A good thing I did, too.
San Francisco Ballet – From Foreign Lands, Beaux, Classical Symphony and Symphonic Dances – New York
In its second mixed bill here in New York, San Francisco Ballet once again impressed with its vitality and the depth of its bench, as well as with its pleasantly unified look.
San Francisco Ballet is in town for two weeks, and on the evidence of opening night, this should be an invigorating visit. The company looks to be in top form.
One feels as Débussy did when he wrote, at the end of the nineteenth century, that “amid too many silly ballets, Lalo’s Namouna is something of a masterpiece.”
Jeu de Cartes, by Peter Martins, is jaunty and busy, a cross between the pas de deux in Balanchine’s Rubies, the trios in Danses Concertantes, and the non-stop action of Martins’ Fearful Symmetries….
What most struck me on this particular evening was the transparency, and clarity of intention, that marked each work.
Amid all the fuss about the costumes, the choreogaphy paled… What a joy, then, to see a section of Western Symphony, with those marvelous frou-frou tutus by Karinska and that euphoric outpouring of Balanchine’s’ crisp, witty steps.
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…