Interview – Robert Barnett, former New York City Ballet dancer and longtime Artistic Director of Atlanta Ballet
Robert Barnett joined New York City Ballet in 1949. In those early years he worked closely with Balanchine and Robbins particularly before going on to direct Atlanta Ballet. Now 91 he is still actively involved in dance and passing on all he knows…
★★★★✰ The Fairy’s Kiss (Ratmansky premiere): The final image is poetic, grand, inspiring. It takes one’s breath away.
★★★✰✰ More than anything, Peck’s “The Times are Racing” reminded me of the movie Rebel Without a Cause. These kids are uneasy, but what is the object of their unease?
★★★✰✰ 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.
New York City Ballet – La Sonnambula, Prodigal Son, Firebird, Allegro Brillante, Swan Lake, Four Temperaments – New York
★★★★✰ Sara Mearns, who made her name as Swan Queen at the age of nineteen, is still the most thrilling Odette around.
Alvin Ailey American Dance Theater – Four Corners, Untitled America, r-Evolution, Dream, Revelations – New York
★★★★✰ There is no limit to how often one can see Ailey’s 1960 masterpiece Revelations. The elation is always the same.
★★★★✰ Watching this immensely entertaining program one realizes that even a minor Balanchine ballet is still a great ballet.
American Ballet Theatre – Serenade after Plato’s Symposium, Symphonic Variations, Brahms-Haydn Variations + Fall Gala – New York
★★★★✰ A second look at Alexei Ratmansky’s Serenade after Plato’s Symposium confirms the impression formed last season. It is a fascinating work that represents a new direction for the choreographer.
Interview – Sebastien Ramirez and Honji Wang, choreographers, performers and collaborators – now with Nitin Sawhney
Interview – Sébastien Ramirez and Honji Wang are about to collaborate with composer, and Sadler’s Wells Associate Artist, Nitin Sawhney at the Royal Albert Hall. We wanted to know more about the dynamic and well connected pair…
Fall For Dance Festival – Program 2: Richard Alston, Aszure Barton, Wendy Whelan, Edward Watson, Grupo Corpo – New York
★★★✰✰ One of this recurring festival’s strongest selling selling points is the serendipity of its pairings. You pay $15 and get a grab-bag of dance in return. You’re bound to like something.
★★★★✰ Divertimento’s aura still shines; you want to see it again, to figure out its fluid, almost magical transitions. It’s a shame it will only be performed four times this season; it takes more than that for the audience, and the dancers, to really get to know it.
★★★✰✰ The pattern is set: the company commissions works from three or four choreographers, often quite young, and pairs them with prominent designers. The works are short, and are introduced by filmlets…
★★★★✰ Revelations is always a joy, however often one sees it. Ailey’s choreography, influenced by his mentor, Lester Horton, and Martha Graham, is a reminder of how potent that modern dance technique could be.
★★✰✰✰ So bravo for Danilian. All the dancing at the gala was very fine – who could expect any less from these dancers? One can (and should) question his taste but it’s clear that he’s willing to go out on a limb…
★★★✰✰ Twyla Tharp is a kind of dance wizard – steps pour out of her like torrents in a waterfall.
New York City Ballet – Apollo, The Four Temperaments, Duo Concertant, Symphony in Three Movements – Paris
★★★★✰ The pleasure, above all, in watching this company is their fearless super-charge of energy and their commitment as the inheritors of Balanchine’s ballets.
School of American Ballet – Workshop Performance: Danses Concertantes, Les Gentilhommes, The Four Temperaments – New York
★★★★✰ Each spring, the School of American Ballet, New York City Ballet’s breeding-ground, holds a series of “Workshop” performances to show off the crème de la crème of its upper-level students.