Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | New York City Ballet

Ashley Bouder, Tiler Peck and Megan Fairchild were at the top of their game in a Balanchine triple bill at New York City Ballet

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

Balanchine’s Nutcracker may have premiered in 1954, but every year tickets sell out for this festive treat. 

Judging by the enthusiastic audience reactions to this program one might have to rethink the modern/ballet divide. Maybe there’s only two types of dance – good dance and bad dance. 

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

Union Jack isn't a Balanchine masterpiece – it's more of a fun-sterpiece, which is even better.

Whatever your taste in ballet, this program probably had it: Wheeldon's DGV meets Balanchine's Door and a Sigh and Raymonda Variations. 

A sharp, well-drilled ensemble and heavenly Fauré, Stravinsky and Tchaikovsky couldn't adequately compensate for the mixed bag of principal performances and the outdated look of Balanchine's Jewels at New York City Ballet.

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."

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. 

Ballets live and die by their scores – as Balanchine knew when he kept returning to Stravinsky. His Symphony in Three Movements will live forever, as will Justin Peck's The Times are Racing, to Dan Deacon's America.

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.

Maria Kowroski and Tyler Angle at the top of their game in Diamonds. A smoking performance from Sara Mearns in Slaughter on 10th Avenue. Strong debuts from Emma Von Enck and Taylor Stanley and a memorable classical turn by Aaron Sanz in the Barber.

An imperfect performance, but after Tanowitz's muddled Bartók, Balanchine's Tchaikovsky Suite no. 3 was like balm.

A triple bill of 21st-century ballets at the Koch Theater sees the return of Alexei Ratmansky's masterpiece, Pictures at an Exhibition. 

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

As City Ballet grapples with lawsuits and lurid accusations, and the loss of an unprecendented number of male principals, new works by Kyle Abraham, Gianna Reisen, and Matthew Neenan stoke inspired performances from the dancers. 

When de Luz reached down and laid his hand on the floor in the final Nocturne, it suggested to me that, on this night and with these dancers, the stage was sacred ground.

Alexei Ratmansky and Justin Peck are all the more impressive among choreographers working today because of how many of their works seem destined to stay in the repertoire for a long time to come.

Tiler Peck is at her peak as an artist and let’s hope it lasts a long time.

Twelve years after its creation, we’re still talking about what’s going on in Russian Seasons and we’re still looking forward to what the next dancer in gold, or red, or green will do with the role.

This program was a good one to inspire your confidence about the future of choreography.

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

Is there anything Tiler Peck can’t do? After her just completed triumph in Swan Lake we’re obliged to say no.

Being able to see all these dancers together was a rare opportunity to compare how differently they work and what each of them brings to classical ballet that is unique to them.

As dance experiences go, this one was hard to beat.

When you add it all up, this was a perfect closing show. It wasn’t without flaws but they were minor and the good far outweighed the bad.

I cannot sufficiently repeat that Peter Martins’ legacy will be measured by the number of outstanding dancers he has nurtured during his tenure.

Sterling Hyltin owns The Concert and seems to be having the best time of anybody onstage.

For that special evening out during the holiday season, you can’t go wrong with New York City Ballet’s warhorse version of The Nutcracker.

Dances at a Gathering is a ballet that we never get tired of because it speaks to enduring truths and its pull of nostalgia only gets stronger as the years pass.

New York City Ballet under Peter Martins continues to nurture talent from its budding dancers and choreographers and it's all to the good.

Balanchine’s Jewels program is one of those can’t miss nights at New York City Ballet.

Le New York City Ballet est à l’affiche de la douzième édition des Etés de la Danse au Théâtre du Châtelet. Cette participation est une première attendue de longue date, alors que le festival a déjà accueilli de nombreuses compagnies américaines.

As the season closer, you want something like this that lets everyone have some fun.

An all Robbins program at New York City Ballet is one of my favorite things.

A high-spirited divertissement from the New York City Ballet.

Miriam Miller is the latest ballerina to stand out from the crowded field at City Ballet and she may well be the best at such a young age since Sara Mearns. 

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

Wendy Whelan is proving that there’s plenty of life for older dancers if there are new works that can make use of their special abilities and lifetime of experience.

NYC Ballet's fashion-forward program of five new works helps to keep things interesting.

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

Peter Martins's greatest legacy at New York City Ballet is his tremendous eye for talent and it was on full display at this matinee show.

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. 

A flock of women triumphed on opening night of Peter Martins' patchy Swan Lake at New York City Ballet: the peerless Sara Mearns as Odette-Odile; Ana Sophia Scheller, Tiler Peck and Megan Fairchild in a spectacular pas de quatre; and corps dancers Jacqueline Bologna, Baily Jones, Alexa Maxwell and Claire Von Enck as the Four Little Swans. 

Justin Peck reinvents Agnes de Mille's classic Rodeo with his thoroughly charming and fun ‘Rōdē,ō: Four Dance Episodes.

This spring is the season of Sterling Hyltin as she continues a string of revelatory performances.

The closing tableau of Symphony in Three Movements is a monument to geometric abstraction that lingers in the mind long after you leave the theater, much like the paintings of Piet Mondrian.

In the post-Wendy Whelan season, it’s Ashley Bouder’s New York City Ballet.

It's a bittersweet season, as Wendy Whelan retires in a few weeks, but New York City Ballet looks set for another golden era, with a cast of terrific dancers!