There is perhaps no better way to start off a season at New York City Ballet than with a performance of Balanchine’s Concerto Barocco.
Reviews
Reviews of Dance and Ballet Performances
It looks as though Natalia Osipova is to become Sylvie Guillem’s successor at the Royal Ballet, giving her idiosyncratic interpretation of a role whether or not it aligns with the company’s existing production.
Where Cheap Lecture seemed content to dispense casual and unpretentious pearls of wisdom in rhythmic form (“things made with effort sometimes only show effort”), Rebelling Against Limits seems shot-through with a minor angst...
And the opening night? Well it was a typical night in many respects - one piece giving cause for hope, another had its fleeting moments and the third wasn't really ready yet for the big time.
Anna-Marie Holmes’s latest staging of Le Corsaire has proved to be a triumph for English National Ballet...
I have yet to see a less than full-throttle performance, even when a choreographer’s style does not quite fit the company’s technique...
The production provides a welcome showcase for the power and virtuosity of the company’s men who are on magnificent form, led by the splendid Chen Jun.
Ah, the brilliance of brevity. Scott Wells & Dancers plunge straight into Father On with a thirty-second audio track that sums up courtship, marriage,and conception.
Fascinating to see the Royal Ballet’s production of Balanchine’s Jewels not long after the Bolshoi’s account at the Royal Opera House in summer. Unlike the Russians, the Royal Ballet dancers understand the different period conventions of the three ‘acts’...
Strongest to emerge was Dzierzon's 'Hikikomori' apparently about social reclusiveness, though Dzierzon’s treatment of her theme was not didactic...
The' Wind in the Willows' is the Royal Opera House’s first transfer to the West End. I hope other shows will follow...
So far this season I’ve seen three “traditional” Nutcrackers: Ratmansky’s version for American Ballet Theatre, Gelsey Kirkland’s, and the familiar and much-loved 1954 staging by George Balanchine for New York City Ballet. All three have their charms...
...Hallberg’s entrance drew gasps and shouts of ‘bravo’ from the audience. His magnificently stretched jetés soared through the air...
I’m not ashamed to admit to a tear in my eye at the final curtain...
Despite the frequency with which the work is performed, the company manage to retain a warmth and freshness in their presentation of it.
Christopher Hampson's production, set to Engelbert Humperdinck's 1893 opera score, dances round traditional perceptions of good and evil, raising sinister notions about the invisibility of danger lurking in the real world.
What made this Peter so right-feeling was that all elements of the show — storytelling, music, stage action — were so well integrated.
Baryshnikov has plenty of speaking lines, which he delivers with persuasion and notable dramatic skill... Yet his main strength here is his body language.
Another December, another Royal Ballet Nutcracker: anything new to report? Not much, no. And for once that's probably the answer most people are hoping to hear...
If you think about it, Nutcracker lends itself quite naturally to an erotic treatment. Coming of age story, voyage of discovery, fantasy playground filled with tantalizing delights