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

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

A slightly under par opening night at New York City Ballet but nevertheless, some strong individual performances.

NYCB presents five short pieces to the music of Maurice Ravel in a bill that showed off some promising debuts.

New York City Ballet deliver an enjoyable, diverse, if occasionally predictable triple bill with revivals of works premiered last season.

Two masterworks by Jerome Robbins, Brandenburg and A Suite of Dances, are joined by Wheeldon's steamy After the Rain and Ratmansky's Paquita challenge.

Opening New York City Ballet's spring season, a quadruple bill of major and minor Balanchine eventually proceeded after protestors infiltrated the Koch Theater and created a diversion. 

Brahms-Schoenberg Quartet comes across as a work with fragments of greatness rather than a masterpiece but the rest of the evening offers sheer brilliance.

 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.

Underneath, There Is Light was soothing, expansive and uplifting. One could see it becoming a regularly revived work.

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.

One minor Balanchine, elevated by commanding performances; a rare Albert Evans; Peter Martins at his most compelling and Jerome Robbins at his funniest.

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

Unlike Tiler Peck’s ballet, the stories of Odesa continue to live in your head.

The final performance at NYCB’s fall season was the best one. One has to have just pure admiration for this company, its dancers, its history, its future.

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.

Namouna does go on too long and not every joke lands, but it’s a fun ballet and the company clearly relishes dancing it. 

Recent retirements within NYCB have resulted in uneven performances, but there is still hope for future spring programs.

 The melancholy ending was a fitting farewell between ballerina and ballet. The heartmelting, beautiful Duo Concertant alone was worth the entire price of admission.

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 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.

New York City Ballet ends its Fall Digital Season with a festival of new choreography, including works by Justin Peck and Pam Tanowitz. 

Alexei Ratmansky draws out exceptional individual qualities of each of five ballerinas in his intriguing world premiere for New York City Ballet, set to spoken word and live piano.