★★★★✰ It makes a noticeable difference when Litton, music director of the company, is in the pit; the orchestra has presence and sings, providing a convincing counterpart for the dancing.
Tag - Daniel Ulbricht
★★★★✰ There is a palpable sense of hope among the dancers; again and again, they rise to the occasion. The opening-night program reflected this resilience and gave reason for hope.
★★★✰✰ Liebeslieder Walzer is one of the most precious of all Balanchine’s ballets; within its fifty-minute span it seems to contain a world of emotion, both profound and infinitely civilized.
★★★✰✰ One of the earliest things I appreciated about Balanchine is that he made me feel okay about liking Tschaikovsky (as NYCB likes to spell it)...
★★★✰✰ Stars and Stripes premiered in 1958, and the Russian emigree demonstrates his affection for the quintessential writer of om-pah music in his adopted country by subverting the common association that marching is all about knee action.
★★★★★ Alexei Ratmansky’s Odessa left me breathless. The dancing (I saw both casts) was phenomenal on all levels: assured, expressive, and thoroughly dramatic.
★★★★✰ I still remember my feelings during the premiere of Alexei Ratmansky’s Russian Seasons at NYCB in 2006. There was a shock of recognition: this was the thing I had been looking for...
★★★★✰ Sara Mearns, who made her name as Swan Queen at the age of nineteen, is still the most thrilling Odette around.
★★✰✰✰ Like all galas, this was quite a mixed bag. Over 200 students trooped on and offstage in a veritable tornado of activity before the veteran YAGP dancers stepped out for the showstopping stuff...
★★★✰✰ 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...
★★★✰✰ "Incredible is Peck’s first narrative, and this fact was obvious Tuesday night, particularly in the opening scenes which lacked clarity..."
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.
Martins' Swan Lake tries to be too many things to too many people.
George Balanchine’s Midsummer Night’s Dream is really two ballets, layered one upon the other.
At first glance, it’s hard to think of two choreographers more unalike than August Bournonville and Balanchine...
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.
The most obvious, and pleasurable aspect of New York City Ballet's mixed bill Hear the Dance: America is its juxtaposition of two very different works by Jerome Robbins.
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.
The balcony pas de deux, what all the paramours have come to see, is decent. There are the sweeping, leg splitting lifts, drippy back drapes (so much so that Hyltin at times looks dead), and romantic clutches in abundance.
'Rōdē,ō: Four Dance Episodes premiere: It turns out that this combination of male vigor, Copland, and Peck is a felicitous one.