Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Roman Mejia

Much acclaimed in 2022, a mixed bill curated by Tiler Peck returns to New York City Center with new cast members.  

New York City Ballet offered a few exhilarating moments in a mishmash of a program from the company with arguably the greatest rep in the world.  

NYCB's triple bill that harks back to the 1950s proves a love letter to an America that never was.

Balanchine's much-loved yet maddeningly disjointed A Midsummer Night's Dream returns to New York City Ballet. Some glorious performances on opening night, some uneven. But the night belonged to the bugs.

When We Fell, Kyle Abraham’s bracing new piece for NYCB, made a minimalist statement on a maximalist quadruple bill, also notable for stunning ensemble work in Alexei Ratmansky's Odesa.

Two masterworks by Jerome Robbins, Brandenburg and A Suite of Dances, are joined by Wheeldon's steamy After the Rain and Ratmansky's Paquita challenge.

Opening New York City Ballet's spring season, a quadruple bill of major and minor Balanchine eventually proceeded after protestors infiltrated the Koch Theater and created a diversion. 

A winning mixed bill at New York City Ballet, featuring three stylistically and conceptually very different works, yielded many gems. 

Brahms-Schoenberg Quartet comes across as a work with fragments of greatness rather than a masterpiece but the rest of the evening offers sheer brilliance.

The best performances of Balanchine’s Nutcracker are always the SAB children. Year after year, they capture not just the steps but the emotions behind Nutcracker.

Coppélia is a gift from Balanchine and Danilova to classical ballet, in this 50th anniversary revival.

New York City Ballet dancing Balanchine's A Midsummer Night's Dream is the happiest way to end a long season.

Underneath, There Is Light was soothing, expansive and uplifting. One could see it becoming a regularly revived work.

An intermittently sparkling evening culminates in a thrilling explosion of art.

An uneven performance with mishaps and mis-pairings, yet still offering some outstanding individual interpretations.

Unlike Tiler Peck’s ballet, the stories of Odesa continue to live in your head.

Some great and some lacklustre performances in the Jerome Robbins triple bill on opening night of New York City Ballet's winter season – and a missed opportunity.   

New York City Ballet marked its 75th anniversary with the same triple bill that caused so much excitement at City Center in 1948: Orpheus, Concerto Barocco and Symphony in C.

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

Contemporary ballet often shies away from unabashed romance. Kyle Abraham instead leans into the love story. 

Audience response for all three ballets was extremely enthusiastic. From 1944 to 1997, Jerry knew how to please audiences.

 Both the new works are accessible ballets in the neoclassical style that is typical of the company.

Namouna does go on too long and not every joke lands, but it’s a fun ballet and the company clearly relishes dancing it. 

If the famous fairy variations in the Prologue can sometimes expose weaknesses, NYCB proved that it excels in pure classical ballet and not only in the neo-classical repertory.

The company’s latest Firebird is Isabella LaFreniere. She’s perfect for the role. LaFreniere is tall, commanding, magisterial, with unusually liquid arms and an expressive back.

I must admit I like NYCB’s recent trend away from the themed programming. The combinations can seem strange, but the performances have more variety.

The Four Seasons is such a happy, appealing ballet that the audience barely notice any unsteady moments. 

Partita has emerged as one of the stronger Peck ballets. If we see more Partita and less Principia, that’s a good thing.

Sterling Hyltin and Adrian Danchig-Waring are exquisitely self-absorbed in Jerome Robbins' Afternoon of a Faun.

The NYCB dancers are very at-home in this idiom, and they threw themselves wholeheartedly into this ballet. It was never less than watchable, but the music cried out for more avante-garde choreography than Peck provided.

After the cancellation of New York City Ballet’s Nutcracker season in 2020, the warhorse to end all warhorses returns to delight holiday audiences. 

A matinee performance that was bright and polished across the board, boding well for the company's future. 

William Forsythe’s love affair with the music of British composer, James Blake, continues with this exhilarating performance of The Barre Project.

Disappointing new creations in NYCB's Fall Fashion Gala, leaving Balanchine's Symphony in C as a surefire closer. 

Yet the audience loved it, just as they love every performance of A Midsummer's Night DreamI've ever attended. This ballet is a tribute to Shakespeare, a tribute to love, a tribute to dance. One walks out feeling as if one's "soul is in the sky."

Modern dance choreographer Pam Tanowitz' first commission for New York City Ballet proved unruly yet fascinating, sandwiched between George Balanchine's enduring Valse-Fantaisie and Western Symphony.