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.
The balcony pas de deux, what all the paramours have come to see, is decent. There are the sweeping, leg splitting lifts, drippy back drapes (so much so that Hyltin at times looks dead), and romantic clutches in abundance.
New York City Ballet – Pictures at an Exhibition, ‘Rōdē,ō: Four Dance Episodes, Mercurial Maoeucres – New York
‘Rōdē,ō: Four Dance Episodes premiere: It turns out that this combination of male vigor, Copland, and Peck is a felicitous one.
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…
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.
Ultimately, it mattered less what Whelan and her collaborators were doing, and more that they were doing.
As in his narrative ballets, Wheeldon crams in too many ideas. What he does supremely well is to convey emotions beyond words in his pas de deux and solos.
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.
Year after year, I see Balanchine’s Nutcracker, and year after year I marvel at its perfection. This year it turns sixty.
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.
Following 3 years directing Royal New Zealand Ballet, Ethan Stiefel is now back in New York – which is where Marina Harss caught up with him…
This is a musical that will certainly delight all dance lovers: the theme of ballet permeates the show from start to finish.
The Washington Ballet hit all the right marks with its 70th anniversary season opening program at the Sidney Harman Hall in October.
Thomas Adès, See the Music, Hear the Dance – Work by Karole Armitage, Wayne McGregor, Crystal Pite, Alexander Whitley – London
It’s not often we get such high quality performances of live music for contemporary dance. Here their playing was wonderfully focused and alive…
Troy Schumacher’s BalletCollective company is a work in progress and unusually has a resident writer, Cynthia Zarin. Marina Harss, at New York’s Skirball Center, sees where they are all at…
American Ballet Theatre – Gala: Rondo Capriccioso, With a Chance of Rain, Thirteen Diversions – New York
Liam Scarlett’s “With a Chance of Rain” premiere – It seemed Marcelo Gomes and Hee Seo might never detach from each other in the final pas de deux…