★★✰✰✰ Last week, on Thursday night, with the exception of The Four Temperaments, the company’s thoughts appeared to be elsewhere...
Tag - Rebecca Krohn
★★★★✰ After much tumult over the holidays, New York City Ballet has begun its first post-Peter Martins season. If you’re just catching up, the company’s “ballet master in chief” – ie artistic director – of over thirty years retired on New Years Day, in the midst of an investigation into allegations of physical abuse and sexual harassment.
New York City Ballet 20th Century Violin Concertos: The Red Violin, In Memory Of…, Stravinsky Violin Concerto ★★★✰✰ New York, David H. Koch Theater 7 October 2017 www.nycballet.com davidhkochtheater.com It goes without saying that Stravinsky Violin Concerto is considered one of Balanchine’s greatest works, but never have I seen it shine so brightly than Saturday night at the Koch, with...
★★★★✰ I still remember my feelings during the premiere of Alexei Ratmansky’s Russian Seasons at NYCB in 2006. There was a shock of recognition: this was the thing I had been looking for...
★★★★✰ Sara Mearns, who made her name as Swan Queen at the age of nineteen, is still the most thrilling Odette around.
★★★★✰ (20), ★★★✰✰ (21) The temperature in Glass Pieces was uncharacteristically low. Under the baton of Clotilde Otranto, the orchestra sounded muffled...
Nobody surpasses New York City Ballet in sleekness and urbanity. The company is like a glistening skyscraper: sharp-edged, diamantine and, sometimes, a little cold...
Martins' Swan Lake tries to be too many things to too many people.
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.
Oksana Khadarina reviews the Serenade, Agon and Symphony in C bill - prepare for many happy adjectives and lots of history...
"...it’s hard not to get the impression that New York City Ballet is on a roll."
Two young NYCB choreographers have been out talking and showing what they do: Justin Peck at the Guggenheim and Troy Schumacher at the 92nd Street Y. Marina Harss on why they are so worth tracking...
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.
Acheron, Liam Scarlett's new piece, revealed a choreographer of prodigious imagination and compositional craft, adept at building an atmosphere and suffusing it with traces of meaning.
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.
This was an evening not to be missed. Newly appointed Artistic Director, José Manuel Carreño, made sure that the quality of the eighteen guest artists for Ballet San Jose’s Gala Performance would tantalise even the most skeptical dance fan.
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....
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.
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.