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To celebrate its return to the theatre after lockdown, New York City Ballet pulled out all the stops with a triple bill of Balanchine's Serenade and Symphony in C and Wheeldon's After the Rain. The house went wild. 

Sofia Coppola's film closed on a note of optimism. The message seemed to be: “Normality is just around the corner. We’re coming back.” 

From the frivolous to the profound, New York City Ballet celebrates the galvanizing partnership of George Balanchine and Igor Stravinsky.

An all-Balanchine program that is remarkably energetic and free at New York City Ballet

Judging by this show, New York City Ballet is doing fine in the aftermath of Peter Martins’s departure.

Sterling Hyltin rendered the sylph so enchantingly that I can’t imagine who could dance it better.

Dance, when fulfilled by such artistry as seen this evening, requires no embellishment. 

The double bill of Liebeslieder Walzer and Tschaikovsky Suite No. 3 is a cloying juxtaposition that serves neither well at New York City Ballet. A handful of fascinating performances rescue the evening. 

Change is in the air at Ballet San Jose, and Saturday night’s star-studded gala to welcome new artistic director José Manuel Carreño proved this in a big way.

Who was George Balanchine’s greatest muse? If her name is on the tip of your tongue, and you think that she must be a famous ballerina, think again. From their first collaboration in early in the 1920s, composer Igor Stravinsky inspired and challenged Balanchine with his music, starting in France and then expanding into different countries.