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

Despite my reservations about Diabelli, there is no doubt Twyla Tharp is one of the most inventive, adventurous voices in dance still (and she's 83). She deserves her flowers.

Artistic Director, Susan Jaffe, reviving the Kingdom of the Shades for ABT’s Fall Season was both a testament to her trust in her company, and also a test.

Just as there can never be a bad performance of Serenade, there are no bad performances of In the Upper Room. It practically dances itself.

Two world premieres and a piece created in 1975. Tharp herself came onstage to raucous applause. She might be “pop dance”, but audiences love it.

Alvin Ailey American Dance Theater proves its versatility in this Sadler's Wells programme, confirming its place as one of the world's greatest dance companies.

After a long absence from Edinburgh stages, Alvin Ailey American Dance Theatre gave electrifying performances at the International Festival.

With choreographers like Ronald K. Brown and Kyle Abraham working with the company, the repertory might finally match the talents of the dancers.

Both In the Upper Room and Nine Sinatra Songs captivate at moments; however, they comment more on who we were than who we have become.

Pacific Northwest Ballet's Rep 2 features an all-female choreographer program with world premieres by Penny Saunders and Jessica Lang and excerpts from the work of Twyla Tharp and Susan Marshall.

A mixed evening at the Koch Theater, with ABT shining in Ratmansky and a new Twyla Tharp creation, but struggling in Balanchine. 

As the wonderful Tharp trio program proves, all these years later Twyla Tharp can still make ballet look cool.

Company and World Premieres to round out KC'S ballet season

A well-curated gala with gravitas; showcasing several works and dancers rarely, if ever, seen in London.

It is good to see Birmingham Royal Ballet in such fine fettle. This triple bill is well conceived and deftly performed. Not always flawless in its execution, but a five star programme nonetheless.

Somehow the sum of all the many parts that make up The Wind fails to galvanise the brilliance that we have come to expect from this fast-rising choreographer

Watching Twyla Tharp move now is a reminder of how much she has affected the landscape of dance during her lifetime.

I can only regret the brevity of ABT's two week long fall season at Lincoln Center.

Twyla Tharp is a choreographer of massive intelligence. At her best, she’s sharply witty, musically insightful and a blast to watch. 

2015 marks 50 years of creations by Twyla Tharp, and the company celebrates with performances in Beverly Hills

Ballet San Jose brings its season to a strong, satisfying close, with performances of Carmen and In the Upper Room drawing praise from critics and audiences alike.

Change is in the air at Ballet San Jose, and Saturday night’s star-studded gala to welcome new artistic director José Manuel Carreño proved this in a big way.

On Friday, American Ballet Theatre gave us two Shakespearean reveries, José Limón’s Moor’s Pavane and Alexei Ratmansky’s new Tempest, and the contrast served neither well. Limón’s tightly structured, minimalist meditation on the theme of jealousy in Othello was partly overshadowed by the glittering spectacle of The Tempest.

Thursday night belonged to the corps de ballet at American Ballet Theatre. With the ghost of George Balanchine watching from his customary spot in the downstage right wing at the theatre formerly known as the New York State Theater, his blissful Theme and Variations and Alexei Ratmansky’s electrifying Piano Concerto no.

Pacific Northwest Ballet opened its season with a love letter to choreographer Twyla Tharp, reviving a cherished classic, and a zany, inventive treatise on classicism.

The Russian ballerina Galina Ulanova is a true legend in the world of classical ballet. Her dramatic interpretations plumbed deep into the human soul and revealed its full gamut of emotion and poetic beauty.

The American Ballet Theatre return to the stage of Sadler’s Wells this week with two mixed programmes of 20th and 21st century ballet. The first programme, of four one act pieces, explores the relationship between music and dance, beginning and ending with a UK premiere.Seven Sonatas choreographed by Alexei Ratmansky, ABT’s artist in residence and former Bolshoi director, opens the programme.