★★★★✰ 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.
★★★★✰ 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.
★★★★✰ 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.
★★★✰✰ 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…
★★★✰✰ The first of two mixed programs that New York City Ballet presented at the Kennedy Center Opera House in March offered a wide variety of works…
New York City Ballet – Ash, This Bitter Earth, The Infernal Machine, Jeux, Paz de la Jolla – New York
★★★✰✰ Handsome to look at, with its film-noir lighting and flattering black 1940’s style dresses (by Marc Happel), Jeux nevertheless proves to be rather thin…
★★★✰✰ The Bournonville footwork and even the mime are there, but there’s little sense of joy or pathos of any kind.
New York City Ballet – The Most Incredible Thing (premiere), Polaris, The Blue of the Distance, Common Ground, Estancia – New York
★★★✰✰ “Incredible is Peck’s first narrative, and this fact was obvious Tuesday night, particularly in the opening scenes which lacked clarity…”
★★★★✰ Some nights at the ballet you just get lucky: all the works are beautiful and the program is well balanced, and each of the casts is led by a ballerina who seems just right for the role.
★★★★✰ (20), ★★★✰✰ (21) The temperature in Glass Pieces was uncharacteristically low. Under the baton of Clotilde Otranto, the orchestra sounded muffled…
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”…
One expects Harlequinade to be a fairly routine and dramatically flat affair. But Tiler Peck and Joaquin De Luz – as Colombine and Harlequin – take it to another level.
The most recent Works & Process at the Guggenheim looked at Commedia dell’arte ballets from Petipa (“Les millions d’Arlequin”) and Balanchine: “Harlequinade”…
After a week of modernist works by Balanchine set mostly to Stravinsky, Hindemith, Webern, there’s no denying that a night of French music falls sweetly on the ear.
There were three débuts at New York City Ballet last night: Zachary Catazaro in Apollo, Russell Janzen in Duo Concertant, and Lauren King in the role I think of as the “jumping girl” in Symphony in Three Movements.
The New York City Ballet spring season is off to the races with a week devoted to George Balanchine, specifically the “black-and-white” ballets that for many have come to define his style.
New York City Ballet – Symphonic Dances, Pictures at an Exhibition, This Bitter Earth, Everywhere We Go – Washington
New York City Ballet’s second bill in Washington was all about 21st-Century Choreographers, with works by Alexei Ratmansky, Christopher Wheeldon, Justin Peck and Peter Martins.
Oksana Khadarina reviews the Serenade, Agon and Symphony in C bill – prepare for many happy adjectives and lots of history…
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.