★★★✰✰ In his staging of La Sylphide, Martins not only removes the intermission, thus shortening the performance time, he also accelerates the pace of the events. It feels as if the story rushes at you with...
Tag - Tyler Angle
★★★✰✰ 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...
★★★✰✰ Handsome to look at, with its film-noir lighting and flattering black 1940’s style dresses (by Marc Happel), Jeux nevertheless proves to be rather thin...
★★★✰✰ The Bournonville footwork and even the mime are there, but there’s little sense of joy or pathos of any kind.
★★★✰✰ "Incredible is Peck’s first narrative, and this fact was obvious Tuesday night, particularly in the opening scenes which lacked clarity..."
★★★✰✰ Lauren Gallagher at New York City Ballet's Winter Season Opening where they introduced their new music director, Andrew Litton, in some style by naming the bill "Music Director's Choice"...
A great Liebeslieder is like a short story, a complete world in fifty minutes of dancing; this Liebeslieder is still a work in progress.
Martins' Swan Lake tries to be too many things to too many people.
At first glance, it’s hard to think of two choreographers more unalike than August Bournonville and Balanchine...
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.
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.
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?
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.
It’s as pointless to complain about ballet galas as it is to grumble about the weather. They serve a purpose...
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.
In many ways, Jewels is Balanchine’s choreographic résumé – a retrospective and a vivid showcase of his aesthetics and creative genius...
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.
One feels as Débussy did when he wrote, at the end of the nineteenth century, that “amid too many silly ballets, Lalo’s Namouna is something of a masterpiece.”
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....