New York City Ballet's second bill in Washington was all about 21st-Century Choreographers, with works by Alexei Ratmansky, Christopher Wheeldon, Justin Peck and Peter Martins.
Tag - Peter Martins
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.
More from the NYCB Winter Season with Marina Harss reviewing 2 bills made up of 6 works: Concerto Barocco, The Goldberg Variations, Symphonic Dances, The Cage, Andantino and Cortege Hongrois...
"...it’s hard not to get the impression that New York City Ballet is on a roll."
At the risk of sounding like a broken record, is there a ballet choreographer working today who is more imaginative, more wholly himself, than Alexei Ratmansky?
It’s as pointless to complain about ballet galas as it is to grumble about the weather. They serve a purpose...
JLD is a relatively young troupe, but it consists of nine experienced and established dancers, some of them well-known and admired in Washington. Take for example, Clifton Brown...
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.
Stravinsky’s is a bitter tale with folk roots, about a soldier (played by the convincingly guileless, agile Tom Pecinka) returning home from the front who is sidetracked by the devil....
George Balanchine’s favorite composers may have been Stravinsky and Tchaikovsky, but it’s no secret that he also had an affinity for France and its music...
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....
Creases revealed, once again, Just Peck’s ability to create strikingly imaginative patterns and formations onstage.
The 12th International Ballet Festival - Dance Open - was held over 4 days in St Petersburg. Margaret Willis (our Ms Expressivity) was there to report on much ballet and not a little award giving...
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...
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.
Sara Mearns has been New York City Ballet’s reigning Swan Queen since her breakout performance in 2006, when she was only nineteen years old and a member the corps de ballet. It was a performance of surprising intensity, edged with danger.
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...
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.