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Commissioned by Washington DC's Kennedy Center in the before-times, Mark Morris' Moon lands more ominously today than it surely did when it was conceived. But it still radiates joy.  

It's 33 years since its premiere in Brussels, and in its eighth season in New York at the Brooklyn Academy of Music, this irreverent American classic is still firing on all cylinders.

With choreographers like Ronald K. Brown and Kyle Abraham working with the company, the repertory might finally match the talents of the dancers.

Tamara Rojo's English National Ballet takes Akram Khan's version of Giselle, created on the company, to the Brooklyn Academy of Music.

Pianist Lada Valešová was the anchor of the performance where Janáček's song cycle gets the van Hove treatment.

Dido and Aeneas was triumphant and had all those great moments that make Morris’s choreography among the most musical I’ve seen.

If you’re only going to one holiday show, this is the one you want.

Anne Teresa De Keersmaeker's company Rosas and the Ictus ensemble bring Vortex Temporum to New York, performed as part of Brooklyn Academy of Music's 2016 Next Wave Festival.

David Lang’s new opera the loser opened the Next Wave Festival at the Brooklyn Academy of Music on Wednesday night, but simply lacked theatricality.

Valery Gergiev led an athletic pilgrimage through composer-pianist Sergei Prokofiev’s five Piano Concerti, in numerical order, at the Brooklyn Academy of Music.

I’ve never seen an audience enjoy another Nutcracker production as much as this one.

Hwanhee Hwang excels in Sasha Watlz and Guests' Continu.

Ivan Talijancic shares his observations on Sankai Juku's production of Umusuna at BAM Next Wave Festival 2015.

Blanca Li’s Robot at BAM is a fun but often muddled piece of dance theater, with a particularly unusual cast: half humans, half tiny (only a couple feet tall) robots. 

Rachel Rizzuto reviews Cedar Lake's final performances as a company at BAM in New York City.

The Mark Morris Dance Group delights at the Brooklyn Academy of Music.

Roman mythology bumps into Buddhism, not always comfortably, in Zhang Huan’s production of Handel’s Semele at the Brooklyn Academy of Music.

Of all the dance companies I’ve seen in the past year, this is the one I would most like to see over and over again.

Nadezhda Batoeva , a younger generation ballerina at the mariinsky, excels as Cinderella, in an otherwise disapointing production, performed here at BAM , New York City.

The Mariinsky Theatre's Swan Lake is both entertaining and refreshing to watch . Reviewed at the Brooklyn Academy of Music, New York.

Shchedrin’s opera The Enchanted Wanderer is the complete opposite of shocking and director Alexei Stepanyuk’s staging alongside Valery Gergiev’s command over the Mariinsky Theatre Orchestra revealed something of a translucid daydream.

Alexei Ratmansky's The Nutcracker for American Ballet Theatre is probably the best one since it was first created. Gillian Murphy and James Whiteside danced with poignant grace and radiant musicality that thrilled the audience.

This weekend saw the New York première of Philip Glass' complete Piano Etudes. Produced by Glass’ long-time collaborator Linda Brumbach, the dazzling showcase divided the 20 etudes equally among the ten performers.

Ohad Naharin's internationally acclaimed Batsheva dance company brings Sadeh21</em> to New York (As part of BAM's Next Wave Festivial 2014)  

Rachel Rizzuto reviews Pina Bausch's Kontakthof (1974) at BAM in Brooklyn.

Ivan Talijancic discusses L.A. Dance Project's New York debut, a Millepied - Peck - Forsythe mixed bill.

QUANTUM, a collaboration between choreogrpaher Gilles Jobin and visual artist Julius von Bismarck, unfortunately remains ' stuck in the realms of ideas' (Crossing The Line 2014 & Next Wave Festival, BAM) 

Rachel Rizzuto reviews Cedar Lake Contemporary Ballet's Program C at BAM Howard Gilman Opera House.

This BAM production of Benjamin Britten’s Billy Budd, imported from Glyndebourne, achieves the rare distinction of making a great performance out of a decidedly mediocre work.

Almost exactly a year ago, Hofesh Shechter Company graced the stage of Brooklyn Academy of Music’s Howard Gilman Opera House, with the choreographer’s explosive Political Mother. Bringing a deafening sound score (the audience was handed ear plugs on their way to the auditorium), vigorous dancing and impactful political slant, that work remains a highlight of BAM’s 2012 Next Wave Festival.

When Japanese Manga cartoons meet Latvian opera singers in a Danish theatre company’s cauldron, one imagines that the sum total of it all could easily translate into a massive train wreck. And yet, this doesn't.

It is ironic that Anna Teresa De Keersmaeker’s closest brush with worldwide fame came a couple of years ago, when she unwittingly found herself in the midst of a plagiarism controversy involving her nearly 30-year-old choreography being egregiously borrowed in a music video by Beyonce.

As the program notes for William Forsythe’s Sider – on show this week as part of Brooklyn Academy of Music’s Next Wave Festival – meticulously explain, the score to which the dancers are performing is taken from a filmed version of an undisclosed Shakespearean tragedy.

At the outset of last century, the collision of the creative minds of the composer Igor Stravinsky and the choreographer Vaslav Nijinsky gave birth to what was to become the legendary Le Sacre du Printemps (“The Rite of Spring”).

During the opening night of Anna Nicole at BAM, I found myself experiencing a case of déjà vu. New York City Opera was electrifying the Howard Gilman Opera House with a work by a living composer featuring the salacious story of a female protagonist whose life was splashed across tabloids, and at one point even featuring an act of fellatio with the disjointed music carrying on in the background.

Spring has sprung and the arts flourish at the Brooklyn Academy of Music. Earlier this week, William Christie and his superb ensemble Les Arts Florissants revived Charpentier’s David et Jonathas, first produced at the 2012 Festival d’Aix-en-Provence (review here).

New York is again lucky to host William Christie and Les Arts Florissants at the Brooklyn Academy of Music. Their visits are always special, and it’s not just because the unique nature of their repertory – Baroque opera, usually French, which is neglected by most of New York’s major companies – nor the virtuosic ease with which they embody this otherwise-foreign idiom.

Benjamin Britten’s 1954 opera The Turn of the Screw is a sensible choice for the New York City Opera: its chamber orchestration and emotional intimacy make it unsuitable for production by the Met Opera (against which every other company in town must define itself), and its claustrophobia would seem to offer a great opportunity for one of the company’s more innovative directors to create something

The chamber opera Powder Her Face has acquired a reputation as a “Don Giovanni for the Monica Lewinsky generation”, a tagline of which I was initially quite skeptical.

Wednesday night’s performance by the Trisha Brown Dance Company was momentous for a number of reasons: first, this performance series includes the very last two premières of Ms Brown’s choreography, as she is retiring from the company due to health reasons.

It’s a pretty daring thing to make a piece of machinery – albeit an impressive piece of machinery – the focal point of a dance-theatre performance, but Compagnie 111’s artistic director Aurélien Bory needed only the first few seconds of Sans Objet to arrest the audience’s attention.

Even Mikhail Baryshnikov was curious to stop by the Brooklyn Academy of Music (BAM) on Thursday March 1st to the witness the world premiere of Mark Morris’ A Choral Fantasy. The work sets movement to the score of Beethoven’s Fantasy in C minor for piano, chorus, and orchestra, Op. 80.

The Howard Gilman Opera House was filled from the orchestra to the balcony. Every seat sold for New York City Opera’s season opener La Traviata, on the occasion of their reinvention from an opera company in the city to an opera company going out into the city. La Traviata was their first production since their controversial move out of their time-honored Lincoln Center home.

In 1676, Louis XIV’s court composer, Jean-Baptiste Lully, wrote Atys, an unusually tragic opera that became a favorite of the king. In 1987, William Christie’s Les Arts Florissants revived it in an acclaimed series of performances in Paris and eventually at the Brooklyn Academy of Music.