★★★★★ The ballet is a triumph, of course. It really is… Wheeldon and his collaborators have reclaimed the Gershwins’ music and songs for a five-star production…
Gallery by Dave Morgan…
★★★✰✰ 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.
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.
★★★★✰ Balanchine himself once said that Serenade is “many things to many people.” If it is one thing to City Ballet, it is the single ballet which they are expected to do perfectly every time.
★★★✰✰ It wouldn’t be spring without ballet galas. This week it was New York City Ballet’s turn. On the program were two new works, by Christopher Wheeldon and the relatively unknown Nicolas Blanc, the latter a veteran of the New York Choreographic Institute.
New York City Ballet – Music Director’s Choice: Barber Violin Concerto, Fancy Free, Who Cares?, Candide (Overture) – New York
★★★✰✰ Lauren Gallagher at New York City Ballet’s Winter Season Opening where they introduced their new music director, Andrew Litton, in some style by naming the bill “Music Director’s Choice”…
After its premiere in Paris last autumn, Christopher Wheeldon’s An American in Paris is about to open in New York. Marina Harss talks to Wheeldon and the 2 stars of the show – Leanne Cope and Robert Fairchild…
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 – 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.
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.
“…it’s hard not to get the impression that New York City Ballet is on a roll.”
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.
It’s as pointless to complain about ballet galas as it is to grumble about the weather. They serve a purpose…
For the second year in a row, the Fall for Dance Festival began with a pair of performances at the outdoor Delacorte Theatre in Central Park, one of the most enchanting spots in the city.
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.)
Opening night of New York City Ballet’s spring season wasn’t a gala, but there was a festive buzz in the theatre nonetheless. The ballets were all by living choreographers; the oldest dated from 1988, half were of more recent vintage.