Watching these three ballets, made over a span of thirty-two years, one can see how Balanchine’s style evolved toward the hyper-stylization of Violin Concerto...
Tag - Ashley Laracey
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.
What most struck me on this particular evening was the transparency, and clarity of intention, that marked each work.
The Ballet v6.0 Festival has just been on at New York's Joyce Theater and Marina Harss was there for. So where are young choreographers taking contemporary ballet...?
But stuck in the middle of all this brightness was Ivesiana, like a ghost at a birthday party. It is a most unsettling ballet.
N.Y. Export: Opus Jazz is certainly not Robbins’ finest or most original work but perhaps because of its relative straightforwardness, it reveals much about what is so remarkable about this choreographer.
What is there to say about Orpheus, except that it seems to slip deeper into the recesses of time? I’ve read that at the première, the critic and poet Edwin Denby was so moved by it that he sat dumbfounded during intermission, unable to stand. It is difficult to imagine such a reaction today.
It’s becoming something of a New York City Ballet tradition to start off the season with, if not a whimper, then let’s say a less-than-stellar performance. Perhaps it’s a kind of exorcism, a ritual cleansing. Maybe that’s why the gala usually takes place a few days later...