En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Adrian Danchig-Waring

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

 It was a remarkable performance and (unusual for Monumentum pro Gesualdo and Movements for Piano and Orchestra) led to a loud, prolonged ovation at the curtain call.

Although Glass Pieces and Pictures at an Exhibition are on the surface very different ballets, they both draw us into their world. I wish NYCB had been able to find more compelling middle ballets.

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

Alexei Ratmansky’s poignant and gripping new work breaks ground at New York City Ballet in a powerful triple bill.

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

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.   

Someone at New York City Ballet needs to believe in Orpheus before they present it again.

An auditorium packed with former company members usher in New York City Ballet's 75th anniversary with George Balanchine's ornamental triptych. 

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.

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?

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.

To celebrate its return to the theatre after lockdown, New York City Ballet pulled out all the stops with a triple bill of Balanchine's Serenade and Symphony in C and Wheeldon's After the Rain. The house went wild. 

New York City Center’s annual Fall for Dance festival heads online in a pair of programs, one much stronger than the other. 

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

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. 

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.

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

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

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

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. 

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.