American Ballet Theatre – Fall Gala + Symphonie Concertante & Garden Blue 3bills – New York
★★★✰✰ The fall season is too brief, particularly because it always feels as though it takes the company a few days to warm itself up. The dancing at the gala on Oct. 17 was a little slapdash, but by Friday things had begun to settle.
New York City Ballet – Jewels & All Balanchine 4bill – New York
★★★★✰ The company seemed to be dancing with a special ferocity, as if to prove its worth and convince the world that this enterprise is, indeed, worth preserving and saving.
New York City Ballet – All Robbins No. 2 and Tribute to Robbins bills – New York
★★★★✰ The centenary celebration bills are more than enough to give a sense of Robbins’ breadth, theatrical savvy, stylistic curiosities, and, perhaps most unique of all, his ability to present dancers as human beings onstage.
New York City Ballet – Concerto Barocco, Agon, The Four Temperaments – New York
★★✰✰✰ Last week, on Thursday night, with the exception of The Four Temperaments, the company’s thoughts appeared to be elsewhere…
Interconnections: Thoughts on “Nick Mauss: Transmissions” at the Whitney in New York
Whiteny PR about the exhibition: “Artist Nick Mauss (b. 1980) presents Transmissions, a multidisciplinary work exploring the relationship between modernist ballet and the avant-garde visual arts in New York from the 1930s through ’50s.”
Suzanne Farrell Ballet – Forever Balanchine: Farewell Performances – Washington
★★★★★ As artistic director of her own troupe, Farrell was able to take her devotion to Balanchine and her aspiration to promote and preserve his legacy to a new level. For nearly 20 years, Washington audiences have enjoyed an annual mini-festival of Balanchine’s works…
Interview – Robert Barnett, former New York City Ballet dancer and longtime Artistic Director of Atlanta Ballet
Robert Barnett joined New York City Ballet in 1949. In those early years he worked closely with Balanchine and Robbins particularly before going on to direct Atlanta Ballet. Now 91 he is still actively involved in dance and passing on all he knows…
New York City Ballet – Fall Gala 2016 – New York
★★★✰✰ The pattern is set: the company commissions works from three or four choreographers, often quite young, and pairs them with prominent designers. The works are short, and are introduced by filmlets…
Miami City Ballet – Program’s A (Balanchine, Tharp, Ratmansky), B (Peck, Scarlett, Balanchine) – New York
★★★★✰ New York audiences and the Miami City Ballet have taken to each other like sun and salt air, and it’s easy to see why.
Alonzo King LINES Ballet – Biophony, Concerto for Two Violins – San Francisco
…for the world premiere of Biophony, King collaborated with the entire natural world….
New York City Ballet – All Bach and Hear the Dance: Russia bills – New York
More from the NYCB Winter Season with Marina Harss reviewing 2 bills made up of 6 works: Concerto Barocco, The Goldberg Variations, Symphonic Dances, The Cage, Andantino and Cortege Hongrois…
Alonzo King Lines Ballet – Concerto for Two Violins, Men’s Quintet, Writing Ground – Cannes
A popular visitor to Cannes, the company was welcomed with a packed house for their new Triple Bill…
Rosas / Anne Teresa De Keersmaeker – Rosas danst Rosas – New York
Watching Rosas danst Rosas this weekend it was easy to understand why it still stands as a prime example of De Keersmaeker’s choreographic approach.
Perm Ballet – Serenade, Concerto Barocco, The Second Detail – Paris
The Perm Ballet has become a regular fixture in France over the past six years… the company embarks every winter on a countrywide tour akin to a Ballets Russes expedition. This year, they visited 19 different venues…
New York City Ballet – Concerto Barocco, Four Temperaments, Stravinsky Violin Concerto – New York
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…
New York City Ballet – Concerto Barocco, Kammermusik No. 2, Who Cares? – New York
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.
Alonzo King LINES Ballet – Concerto for Two Violins, Writing Ground – San Francisco
Quite by accident I ended up seeing LINES Ballet’s fall season twice. A good thing I did, too.
American Ballet Theatre – Bach Partita, Gong, The Tempest – New York
Throughout the Bach Partita, Tharp’s movement is technical, precise, and highly articulated. As with Balanchine, the bodies are always distinct, framed in space.
American Ballet Theatre – Les Sylphides, Clear, Theme and Variations – New York
It’s good to see the company perform Sylphides again after a hiatus of eight years. The style hasn’t eroded. …The dancers believe in it.
Pacific Northwest Ballet – Concerto Barocco, Apollo, Agon – New York
In New York one can begin to feel proprietary about Balanchine, to form the illusion that his choreography is a local specialty, the province of a select group of dancers, all of them employees of New York City Ballet. But this is mere local pride.
