En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Daniel Applebaum

It's got a lot of appeal, with a diverse range of choreography, and offering audiences the chance to see excellent dancing and even some partnerships forming from different companies.

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.” 

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.

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.

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.

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. 

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.