See Ephrat Asherie Dance as part of NY City Center's Fall for Dance Festival on the 15/16 October where the company appear in Program 2. FFDF runs through until the 24 October 2021.
Tag - Tiler Peck
★★★★✰ Lauren Lovette has just said farewell to NYCB. Marina Harss on some moving performances - "The ovation was heartfelt, and went on for a long time."
★★★★✰ Marina Harss with thoughts/observations on La Valse, Other Dances, After the Rain pas de deux, Agon, Monumentum Pro Gesualdo, Movements for Piano and Orchestra and Chaconne.
★★★✰✰ New York City Ballet’s fall season in New York continues with Opus 19/The Dreamer (Robbins), Russian Seasons (Ratmansky) and Amaria - a new piece for Maria Kowroski, who is about to retire from the company, by Mauro Bigonzetti.
★★★★★ ...a satisfying film in which dance is treated as a work of art, like a painting or a sculpture that moves. New York City Ballet’s virtual spring gala is the most successful version of this approach I’ve seen.
★★★★★ This collaboration between choreographer William Forsythe and New York City Ballet dancer Tiler Peck is the best-conceived dance film streamed during current Covid-19 constraints.
★★★✰✰ Program II of the Fall for Dance festival features premieres by Dormeshia and Kyle Abraham, plus excerpts of works by Balanchine and Lar Lubovitch...
English National Ballet’s Emerging Dancer Competition is unique in British ballet in throwing the spotlight on more junior dancers or "the excellence of the Company’s young talent,” as ENB put it. This year’s competition is live-streamed from ENB's London studios on 22 September and ahead of the that we talk to the finalists – Ivana Bueno, Carolyne Galvao, Miguel Angel Maidana, Victor Prigent...
New York City Center is streaming some ballet master classes, curated and hosted by Alastair Macaulay, and involving Misty Copeland, Sara Mearns and Tiler Peck. The coaches/guests include Nina Ananiashvili, Merrill Ashley, Alessandra Ferri, Stephanie Saland and Pam Tanowitz.
★★★★✰ How is the company looking? ...the company looks good so far.
★★★★✰ It makes a noticeable difference when Litton, music director of the company, is in the pit; the orchestra has presence and sings, providing a convincing counterpart for the dancing.
★★★★✰ There is a palpable sense of hope among the dancers; again and again, they rise to the occasion. The opening-night program reflected this resilience and gave reason for hope.
★★★✰✰ Liebeslieder Walzer is one of the most precious of all Balanchine’s ballets; within its fifty-minute span it seems to contain a world of emotion, both profound and infinitely civilized.
★★★✰✰ Major draws were the new Justin Peck and a revival of William Forsythe’s 1992 commission Herman Schmerman, not seen in full since the 90s...
★★★✰✰ One of the earliest things I appreciated about Balanchine is that he made me feel okay about liking Tschaikovsky (as NYCB likes to spell it)...
★★★★✰ There has been a generational shift at New York City Ballet, that much was clear last night in a program of Stravinsky ballets that included two major débuts and several smaller ones...
Other years have been more exciting, I think, but this one has had its share of remarkable performances, including a few thrilling ones. Here, in no particular order, are the ones that really stood out, for one reason or another.
★★★✰✰ Come hell or high water, George Balanchine’s The Nutcracker will return to New York City Ballet, filling the theatre night after night. Balanchine made a ballet built to last, and it has not disappointed.
★★★✰✰ It’s fascinating to see how Balanchinean charm and wit are interpreted by dancers for whom the Balanchine repertoire is more of a foreign language.
★★★★✰ The company seemed to be dancing with a special ferocity, as if to prove its worth and convince the world that this enterprise is, indeed, worth preserving and saving.