Dance Review | New York City Ballet: Balanchine, Steeped in Romance and Russia
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New York City Balletâs âRussian Treasuresâ program of works choreographed by George Balanchine to music by Tchaikovsky embodies important City Ballet history.
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Working around bats, bugs and dripping silver balloons, dancers overtake New York CityÂs public places.
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At the opening of New YorkÂs ÂSteve Reich @ 70Â festivities, the lively energy and a propulsive beat of Mr. ReichÂs music helped propel dancers and inspire choreographers.
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Free tango in Central Park has become the emblem of one of New York Cityâs most obsessed subcultures.
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The name of the New York Baroque Dance Companyâs new program is âPoints of Departure.â But how can an audience tell just what those points are?
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Stagers, those who teach the dancers the steps, timing, architecture and intention of a ballet, share their experiences.
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Special thanks to the enterprising New York Theater Ballet for giving New York what I believe are the yearâs first staged revivals of the work of JosÃ© LimÃ³n and Antony Tudor.
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Tears fell at the New York State Theater for Kyra Nicholsâs farewell after 33 years with New York City Ballet, but there were fewer tears than flowers.
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âBuenos Aires Tango,â though larger and more glittering, retains the sensual intimacy inherent in the best of tango.
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A number of recent pieces showed how dance can powerfully focus attention on the essentials: the body, movement, human existence in a mysterious and unknowable world.
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The American Ballet Theaterâs new production of âThe Sleeping Beautyâ opens on Friday after months of tantalizing rumors about its staging and choreography.
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A unique pas de deux: A Soviet ballet star and a medaled ex-marine run a very intense dance school in rural Maine.
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With new music directors at both companies, New York City Opera and the Metropolitan Opera are poised to prod each other into making New York a hotbed of operatic innovation.
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The New York City BalletÂs fall gala on Tuesday fit eight mini-ballets comfortably into a two-hour span, even with a generous intermission.
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Kenneth MacMillanâs âRomeo and Julietâ has proved itself a fluent mixture of dance and acting, absorbing in its response to both Shakespeareâs story and Prokofievâs score.
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James Kudelkaâs âCinderella,â on show this week at the Metropolitan Opera House with American Ballet Theater, would be a good idea for a ballet.
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After more than 15 years with New York City Ballet, Nikolaj HÃ¼bbe danced his farewell performance on Sunday not as if he were delivering the last word on his roles, but as if they were brave new worlds he was still exploring.