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

A joyful, very gracious finale for a highly respected and loved principal dancer at NYCB. Andrew Veyette bows out with dignity and humility.

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.

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

Last night’s New York City Ballet program gave you an idea of Tallchief’s versatility and depth in a fitting tribute to her great talent.

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.

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

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.

When she retires next week, part of me likes to think she’s not really retiring. She’s just decided to stay in the Land of Sweets.

Concerto DSCH received a raucous reception during curtain calls. It’s a classic closer for an evening in that it sends everyone home happy. It doesn’t below as the middle ballet. Programming gods at NYCB, are you listening?

The fall season opens with three Balanchine ballets and what felt like a gesture of thanks to a trio of ballerinas for their many years of service to the company.

George Balanchine's ballet brings joy to audiences year in, year out. 

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

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

NYCB has always had a mission to present new works and Saturday's program included Amaria, a creation by Mauro Bigonzetti for retiring ballerina Maria Kowroski.

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.” 

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

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. 

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

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."

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

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

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.

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.

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.