★★★★✰ Balanchine himself once said that Serenade is “many things to many people.” If it is one thing to City Ballet, it is the single ballet which they are expected to do perfectly every time.
Tag - Teresa Reichlen
★★★★✰ Vienna Waltzes is a sure-fire hit. It seduces on many fronts: the ridiculously flattering gowns by Karinska (her last for the company), the sumptuous music, the multitudes of dancers...
★★★✰✰ What do you do with a problem like Jewels? This 1967 blockbuster by George Balanchine is a hard one to pull off...
★★★✰✰ The first of two mixed programs that New York City Ballet presented at the Kennedy Center Opera House in March offered a wide variety of works...
★★★✰✰ The Bournonville footwork and even the mime are there, but there’s little sense of joy or pathos of any kind.
★★★★✰ Some nights at the ballet you just get lucky: all the works are beautiful and the program is well balanced, and each of the casts is led by a ballerina who seems just right for the role.
★★★★✰ (20), ★★★✰✰ (21) The temperature in Glass Pieces was uncharacteristically low. Under the baton of Clotilde Otranto, the orchestra sounded muffled...
A great Liebeslieder is like a short story, a complete world in fifty minutes of dancing; this Liebeslieder is still a work in progress.
George Balanchine’s Midsummer Night’s Dream is really two ballets, layered one upon the other.
In her début as the Sylph, Lovette was warm, soft, enticing, more child-like than enigmatic.
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.
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.
Oksana Khadarina reviews the Serenade, Agon and Symphony in C bill - prepare for many happy adjectives and lots of history...
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...
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.
"...it’s hard not to get the impression that New York City Ballet is on a roll."
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.
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...
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...