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Peter Boyer’s oratorio A Hundred Years On, commemorating the centenary of the 1876 World’s Fair, softens the blow of jingoism, looking to an earlier era of hope and broken promise.

Kansas City Ballet celebrate the USA’s 250th anniversary with three American ballets. Balanchine's Stars and Stripes, de Mille's Rodeo and a new work by Caili Quan, A Home Away.

A joyful, very gracious finale for a highly respected and loved principal dancer at NYCB. Andrew Veyette bows out with dignity and humility.

At Disney Hall, Gustavo Dudamel and Lang Lang open the LA Phil's season with Rachmaninov and Ginastera. 

An evening of George Balanchine’s joyous, kitschy send-ups, with clever parodies of Petipa ballets.

The LA Phil give us plenty of excitement in Stravinsky and Sousa and an orchestral surprise packet from Ginastera; Yuja Wang's superb pianism isn't enough to lift a disappointing Adams concerto.

Dudamel has the crowd eating out of his hand, though Adams' new piano concerto leaves doubts.

The ending of Stars and Stripesis a sure-fire applause machine. The lowering of the flag while all the regiments march and salute onstage is so corny that only Balanchine could have choreographed it with a straight face. And yet it worked in 1958 and it works in 2019. 

San Francisco Ballet gives a rousing account of Justin Peck's ground-breaking Rodeo, newcomers Ana Sophia Scheller and Ulrik Birkkjær make waves, and Carlo DiLanno wins my vote for MVP at this season's gala. 

Suzanne Farrell's revived premiere of Balanchine's Gounod Symphony is a triumph of form. 

American Ballet Theatre’s gala performance for the opening of its New York season was wonderfully varied and matched the level of excitement necessary to kick off a run at the prestigious City Center.