"David H. Koch Theater" tag
Adrian Danchig-Waring, Jovani Furlan, Teresa Reichlen in Robbins’ Concertino.© Erin Baiano. (Click image for larger version)

New York City Ballet – Classic NYCB I including Haieff Divertimento & Episodes – New York

★★★★✰   The four ballets make for a slightly over-long evening (both Episodes and Rodeo are substantial works). But it’s a small price to pay for seeing these rarities back onstage.

Megan Fairchild and NYCB in Ratmansky’s Voices.© Erin Baiano. (Click image for larger version)

New York City Ballet – Voices (new Ratmansky), and New Combinations bill – New York

★★★★✰   There was always something new around the corner, a surprising shape, a witty step, an unlikely transition. It’s clear that Ratmansky felt liberated by the unusual structure and soundscape…

Teresa Reichlen and Ask la Cour in Balanchine’s Firebird.© Paul Kolnik. (Click image for larger version)

New York City Ballet – All Balanchine: Allegro Brillante, La Source, Firebird – New York

★★★★✰   How is the company looking? …the company looks good so far.

Lauren Lovette and Joseph Gordon in George Balanchine’s Stravinsky Violin Concerto.© Erin Baiano. (Click image for larger version)

New York City Ballet – Stravinsky & Balanchine bill – New York

★★★★✰   New York City Ballet is off to a fine start when it opens the winter season with a very well-danced all Balanchine, all Stravinsky program.

Michael Trusnovec in Variations solo from Balanchie's Episodes.© Nina Wurtzel. (Click image for larger version)

Paul Taylor American Modern Dance – Gala including new Kyle Abraham – New York

★★★★✰   As a special one-off, Michael Trusnovec, now a guest artist, danced the solo from George Balanchine’s spiky and ascetic Episodes which he made for Paul Taylor in 1959.

Cassandra Trenary and Cory Stearns in A Time There Was.© Rosalie O'Connor. (Click image for larger version)

American Ballet Theatre – New Romantics: New American Romance, Garden Blue, A Time There Was – New York

★★★✰✰   The emphasis here was on new. This was a night to check in on the creative efforts of two emerging voices on the ballet scene – Gemma Bond and James Whiteside.

Calvin Royal III in Apollo. © The George Balanchine Trust.© Rosalie O'Connor. (Click image for larger version)

American Ballet Theatre – Balanchine, Bennett & The Beach Boys bill – New York

★★★★✰   In programs like this one, ABT really looks like an American company, steeped in American popular music and the relaxed attitude of popular dance. It’s a mode that suits the company well.

Catherine Hurlin and Aran Bell in Let Me Sing Forevermore.© Rosalie O'Connor. (Click image for larger version)

American Ballet Theatre – Fall Gala and The Masters bills – New York

★★★★✰   The fewer the speeches, the better the gala – this universal truth seems to have bypassed the organizers at American Ballet Theatre…

Adrian Danchig-Waring and Emilie Gerrity in Cunningham’s Summerspace.© Erin Baiano. (Click image for larger version)

New York City Ballet – Serenade, Summerspace, Tchaikovsky Piano Concerto No. 2 – New York

★★★★✰   On the penultimate day of the fall season, I managed to catch a performance of New York City Ballet’s revival of Merce Cunningham’s Summerspace. The 1958 piece, which had its City Ballet premiere in 1966, was last performed here in 2000.

Adrian Danchig-Waring and Unity Phelan in Robbins’ Dances at a Gathering.© Erin Baiano. (Click image for larger version)

New York City Ballet – Dances at a Gathering, Everywhere We Go – New York

★★★✰✰   Robbins’ response to Chopin (in Dances at a Gathering) is also extraordinary: sensitive, simple, vulnerable, direct, un-fussy.

Georgina Pazcoguin and Company in Lauren Lovette’s The Shaded Line.© Erin Baiano. (Click image for larger version)

New York City Ballet – Fall Fashion Gala with The Shaded Line, Lineage, Symphony in C – New York

★★★✰✰   Kudos to Lovette for really going out on a limb… The Shaded Line feels truly her own, and it’s clear that she has much to say about her chosen profession…

Sara Mearns and Daniel Ulbricht in George Balanchine’s Variations Pour Une Porte et Un Soupir.© Erin Baiano. (Click image for larger version)

New York City Ballet – Balanchine + Wheeldon bill & Jewels – New York

★★★★✰   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.

Sara Mearns as Titania in Balanchine’s A Midsummer Night’s Dream.© Erin Baiano. (Click image for larger version)

New York City Ballet – A Midsummer Night’s Dream – New York

★★★★✰   For Balanchine, Shakespeare’s characters are two-dimensional types, exemplary but wholly unreal. They are shadows in a shadow-play, representing this or that quality…

Joseph Gordon and Ashley Bouder in Balanchine's Scotch Symphony.© Paul Kolnik. (Click image for larger version)

New York City Ballet – All Balanchine quad bill including Scotch Symphony – New York

★★★★✰   There’s a reason why New York City Ballet doesn’t do George Balanchine’s Scotch Symphony very often. It’s a strangely disjointed ballet…

Megan LeCrone in Reisen’s Judah.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Hallelujah Junction, Judah, The Exchange, Concerto DSCH – New York

★★★✰✰   The vitality and drive of the troupe was palpable Wednesday night, as was a sense of collective energy to move forward – however rocky that movement might be.

Gretchen Smith and Indiana Woodward in Pam Tanowitz’s Bartók Ballet.© Erin Baiano. (Click image for larger version)

New York City Ballet – Spring Gala: Bright, Bartók Ballet, Tchaikovsky Suite No. 3 – New York

★★★✰✰   In Bartók Ballet, which coexists but does not comment on the music, the dancers explore a huge range of steps and quotations…

Sara Mearns in Justin Peck’s Rodeo: Four Dance Episodes.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Pictures at an Exhibition, Oltremare, Rodeo: Four Dance Episodes – New York

★★★★✰   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.

New York City Ballet in Liebeslieder Walzer.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Prodigal Son, Liebeslieder Walzer – New York

★★★✰✰   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.

Sara Mearns and Jared Angle in Jerome Robbins' In the Night.© Erin Baiano. (Click image for larger version)

New York City Ballet – Robbins bill: Interplay, In the Night, N.Y. Export: Opus Jazz – New York

★★★✰✰   There was virtually nothing to fault with “In the Night” on Saturday — each couple was well matched, and Robbins’ unique capacity to imbue classical form with the richness of human experience again seems unparalleled

Tiler Peck in Justin Peck’s Principia.© Erin Baiano. (Click image for larger version)

New York City Ballet – Herman Schmerman, Principia (new Peck), The Runaway – New York

★★★✰✰   Major draws were the new Justin Peck and a revival of William Forsythe’s 1992 commission Herman Schmerman, not seen in full since the 90s…

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