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

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.

Scenic designs left the most lasting impressions of a mixed bill at New York City Ballet featuring a world premiere by Justin Peck.

The whole evening had an excellence across four ballets that is a rare occasion. And it had a sui generis portrayal in Alexa Maxwell’s Novice. I would highly recommend seeing this program.

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.   

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

Over twenty-two vignettes, some long, others short, a cast of thirty pedestrianizes ballet. The work suggests that who you are matters more than what you do. 

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.

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

A Greek-themed triple bill is presented with mixed success, although Agon still stands up well, with Unity Phelan making her debut in the central pas de deux.

A trio of audience-pleasing Balanchine ballets as a blizzard blows through New York City...

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.

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