"School of American Ballet" tag
Natalia Magnicaballi in Tzigane.© Paul Kolnik. (Click image for larger version)

Suzanne Farrell Ballet’s Final Performances in Washington

This season the Suzanne Farrell Ballet is bidding farewell to its audiences with final performances at the Kennedy Center Opera House, December 7-9. There will be two programs, each featuring a selection of George Balanchine’s choreographic gems…

Gabriella Domini, supported by Maxwell Read and Jackson Fort, in Scotch Symphony. Choreography by George Balanchine © The George Balanchine Trust.© Paul Kolnik. (Click image for larger version)

School of American Ballet – Workshop Performance: Scènes de Ballet, Hallelujah Junction, Scotch Symphony – New York

★★★★✰   New York City Ballet’s seemingly endless stream of new talent has a source, and that source is the School of American Ballet…

Tiler Peck in Justin Peck's The Times are Racing.© Paul Kolnik. (Click image for larger version)

New York City Ballet – The Times are Racing, The Shimmering Asphalt, Fearful Symmetries – New York

★★★✰✰   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?

Taylor Stanley, Anthony Huxley and Brittany Pollack in Justin Peck's Scherzo Fantastique.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Stravinsky x Five bill – New York

★★★✰✰   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.

Ethan Fuller in The Four Temperaments (First Variation: Melancholic), choreography by George Balanchine © The George Balanchine Trust.© Paul Kolnik. (Click image for larger version)

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.

Miriam Miller and Anthony Huxley in Midsummer Night’s Dream.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Midsummer Night’s Dream – New York

★★★★✰   But the kids are just one element of what makes Midsummer tick. Another is the intelligence and efficiency with which the ballet tells its story.

New York City Ballet in Peter Martins’ staging of August Bournonville’s La Sylphide.© Paul Kolnik. (Click image for larger version)

New York City Ballet – La Sylphide, Bournonville Divertissements – Washington

★★★✰✰ In his staging of La Sylphide, Martins not only removes the intermission, thus shortening the performance time, he also accelerates the pace of the events. It feels as if the story rushes at you with…

Lawrence Rines.© Vikki Sloviter Portrait Photography. (Click image for larger version)

Lawrence Rines – Boston Ballet, Corps de Ballet

“I feel as though now that I’m older, working smart is the best thing as a dancer and artist. It’s not about NOT trying as hard as when I was younger, but really thinking about things.”

Lauren King and New York City Ballet in The Nutcracker.© Paul Kolnik. (Click image for larger version)

New York City Ballet – The Nutcracker – New York

Tchaikovsky’s Nutcracker… has been described as a “symphony of childhood”; it is that, and more.

Suzanne Farrell.© Paul Kolnik. (Click image for larger version)

Interview: Suzanne Farrell – Artistic Director

We talk to Farrell about her summer program, her approach to teaching aspiring ballet dancers, her studies and work with George Balanchine and also about her her company and its new season at the Kennedy Center, which runs 30 Oct – 1 Nov 2015.

Paloma Herrera in a studio photograph for Sleeping Beauty.© Juan Mathé. (Click image for larger version)

Paloma Herrera – former American Ballet Theatre Principal, dancer and teacher

Next year I want to dedicate more time to teaching, and finally bring out my clothing line, under the brand Paloma Herrera…

Teresa Reichlen in A Midsummer Night's Dream.© Paul Kolnik. (Click image for larger version)

New York City Ballet – A Midsummer Night’s Dream – New York

George Balanchine’s Midsummer Night’s Dream is really two ballets, layered one upon the other.

Ashley Bouder and NYCB in George Balanchine's Serenade.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Serenade, Agon and Symphony in C – Washington

Oksana Khadarina reviews the Serenade, Agon and Symphony in C bill – prepare for many happy adjectives and lots of history…

New York City Ballet in Harlequinade.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Square Dance, Harlequinade – New York

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.

Ashley Bouder in Donizetti Variations.© Paul Kolnik. (Click image for larger version)

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.

Sara Mearns in Balanchine's The Nutcracker.© Paul Kolnik. (Click image for larger version)

New York City Ballet – George Balanchine’s The Nutcracker – New York

Year after year, I see Balanchine’s Nutcracker, and year after year I marvel at its perfection. This year it turns sixty.

New Ballet Ensemble at the National Symphony Orchestra: NEW MOVES program.© Scott Suchman. (Click image for larger version)

New Ballet Ensemble – Program 2, National Symphony Orchestra: NEW MOVES: symphony + dance season – Washington

Smythe’s Harlem was a riot of imagination, movement and color. The choreography blended together three seemingly unmixable styles of dance – classical ballet, jookin’ and flamenco…

Rocking Tyler Angle to sleep in Namouna.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Spectral Evidence, Soirée Musicale, Namouna – New York

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.”

Edward Villella.© Gio Alma, courtesy Edward Villella. (Click image for larger version)

Edward Villella – Founding Artistic Director of Miami City Ballet

After twenty-six years in Miami, Edward Villella is back in New York, just across the East River from his old stomping grounds in Bayside Queens. He was an unlikely danseur, a scrappy kid…

Tiler Peck and Robert Fairchild in Christopher Wheeldon's A Place for Us.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Spring Gala with Wheeldon premiere – New York

But ‘A Place for Us’ (new Wheeldon) feels like a bauble, not quite a jewel.

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