After a week of modernist works by Balanchine set mostly to Stravinsky, Hindemith, Webern, there’s no denying that a night of French music falls sweetly on the ear.
Tag - New York
American Ballet Theatre – Les Sylphides, Pillar of Fire, Fancy Free, Theme and Variations – New York
There are times when a dance lover just can’t believe her good fortune and one of those times comes around once a year in New York...
At first glance, it’s hard to think of two choreographers more unalike than August Bournonville and Balanchine...
There were three débuts at New York City Ballet last night: Zachary Catazaro in Apollo, Russell Janzen in Duo Concertant, and Lauren King in the role I think of as the "jumping girl" in Symphony in Three Movements.
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.
Morris seems particularly interested in deploying turning and spinning movements these days; turns appear again and again in different forms in many of the new works, especially fast chaînés or dizzying rotations in one spot.
In both shows, the most exciting element was the push-and-pull between the music-making and the dancing.
None of it made any sense, and yet there were moments of heart-catching beauty...
Flexn is interesting because it seems to be just as much about narrative as it is about moves. The dancers take the lyrics of rap and hip hop songs and make stories out of them.
There are dances that grip you from the first moment, and others that get under your skin, little by little, drop by drop. Liz Gerring’s Glacier is the latter...
Karole Armitage is in a groove, and it's environmental. On the Nature of Things, presented at the American Museum of Natural History, is her latest in a string of works addressing the all too rapid ecological devastation humans are wreaking on the planet.
The Paul Taylor Dance Company, rechristened Paul Taylor’s American Modern Dance, is in the midst of its yearly three-week New York run at the Koch Theater. This is a pivotal time for the company...
The eight dancers under Mr. Swinston’s care have had time to absorb the complicated coordination and autonomy that lies at the heart of this style.
Baras is the undisputed star, at times joined by José Serrano or a small ensemble of six, and backed by an excellent group of musicians and singers.
MalPaso Dance Company is a product of an evolving Cuba, finding its way, looking out at the world beyond the island.
There’s something almost too private about the way these dancers handle each other. Weare’s natural habitat is the duet, which in many cases has the flavor of a mortal combat.
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.