So how long does he see himself staying on the far side of America? “Well, I am just about to sign another six year contract,” he grinned...
Tag - George Balanchine
This triple bill, with two world premieres, shows how ably choreographers 85 years apart can refresh the language of classical ballet without distorting it beyond recognition.
27 pictures by Dave Morgan...
Teresa Reichlen - known as Tess by friends and colleagues - is an immediately striking dancer: tall, pale, preternaturally serene. She could be a Madonna in a painting by Botticelli.
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.
Now thirty-one Carla Korbes has grown up to become one of America’s most remarkable ballerinas. Her recent performance of Terpsichore’s duet with Apollo at the Guggenheim was one of the most touchingly natural and innately musical interpretations I’ve seen.
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.
An in-depth interview with the lady who helps bring Balanchine back...
Perhaps the best pas de deux of the evening, judging by the audience reaction, is one from Christopher Wheeldon’s After the Rain.
Is there a ballet more deceptive than Balanchine’s Divertimento from ‘Le Baiser de la Fée’? If so, I’m not aware of it.
What one does not see much of, at least at first glance, is nostalgia for the motherland. “I never had nostalgia about anything,” Baryshnikov says.
I’m not yet fully convinced of the wisdom of New York City Ballet’s thematic seasons, organized around the music of a single composer....
Dance is a difficult thing to experience outside of the theatre, but for the sustainability of the artform it has to find a way to make itself more widely available.
...it’s that ambiguity in their performances — the tension between seriousness and satire — that makes the company such a joy to watch.
The festival was as intensive as ever, with three performances running on seven days, four on one day, some concurrently. The range and quality of dance overall was impressive.
From start to finish this Nutcracker ...is a true Christmas gift for children and adults alike – one of the most satisfying versions of the holiday classic I have ever seen.
Now Is All There Is - Bodies in Motion, is an exhibition of 34 stylized images of Royal Ballet dancers taken by photographer Rick Guest.
The company premiere of The Prodigal Son was the centerpiece and highlight of the Suzanne Farrell Ballet’s second all-Balanchine program at the Kennedy Center Eisenhower Theater - a program that also included Divertimento No. 15 and Slaughter on Tenth Avenue.
When something is beautifully made it never gets old. So it is with Balanchine’s Nutcracker, first performed by New York City Ballet in 1954 and honed to near-perfection over the years.
When watching them perform one understands what dance critic Joan Acocella meant when she said: “Every single time Suzanne Farrell sets a Balanchine ballet – it rises from the dead.”