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

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

New York City Ballet dancing Balanchine's A Midsummer Night's Dream is the happiest way to end a long season.

An evening of George Balanchine’s joyous, kitschy send-ups, with clever parodies of Petipa ballets.

In a first rate performance and just as balletomanes say goodbye to Harrison Ball, we say hello to the young talent, Domenika Afanasenkov. The cycle continues.

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.

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.

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.

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.

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.

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