In recent seasons New York City Ballet has gotten into the habit of starting things off with a week or two of Balanchine. It’s an excellent idea.
Tag - Maria Kowroski
One cannot help but be amazed by the number of exceptional women in the company, and by how differently they approach the steps, the music and the temperament of each ballet.
It’s as pointless to complain about ballet galas as it is to grumble about the weather. They serve a purpose...
Justin Peck has gone from unknown corps-member to choreographer-of-the-moment in a blink of an eye. (He created his first piece for the company in 2012; this is his sixth.)
Opening night of New York City Ballet’s spring season wasn’t a gala, but there was a festive buzz in the theatre nonetheless. The ballets were all by living choreographers; the oldest dated from 1988, half were of more recent vintage.
In many ways, Jewels is Balanchine’s choreographic résumé – a retrospective and a vivid showcase of his aesthetics and creative genius...
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...
Some dancers leave us wanting more. That’s how Jenifer Ringer’s retirement from New York City Ballet feels; we’ve seen so little of her in recent seasons, and she’s dancing so well.
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.
Jeu de Cartes, by Peter Martins, is jaunty and busy, a cross between the pas de deux in Balanchine’s Rubies, the trios in Danses Concertantes, and the non-stop action of Martins’ Fearful Symmetries....
What most struck me on this particular evening was the transparency, and clarity of intention, that marked each work.
Amid all the fuss about the costumes, the choreogaphy paled... What a joy, then, to see a section of Western Symphony, with those marvelous frou-frou tutus by Karinska and that euphoric outpouring of Balanchine’s’ crisp, witty steps.
Creases revealed, once again, Just Peck’s ability to create strikingly imaginative patterns and formations onstage.
The revitalizing impact of Balanchine’s choreography on Tchaikovsky’s music was particularly evident in the all-Tchaikovsky, all-Balanchine program presented by New York City Ballet at the Kennedy Center Opera House during the last week of March.
It’s a good thing indeed when a visit to the ballet turns out to be a night full of surprises, all of them good.
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.
I’ve noticed two troubling trends this season at New York City Ballet. Perhaps they are connected. The first is the creeping tendency toward stolid tempi from the pit...
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.
After the dreary bombast of Alexei Ratmansky's recent Firebird for American Ballet Theatre, the Balanchine/Robbins version, with its blessedly shorter score (Stravinsky's Firebird Suite), heavenly Chagall designs and the great Ashley Bouder in one of her first great roles, was a welcome palliative.
In the second act, storytelling gives way to pure dance, the highpoint of which is one of the most delicate, poetic pas de deux ever made - an allegory of love, danced by an unidentified couple. It is a Balanchinean vision of absolute trust and partnership...